Art Nouveau : Utopia : Reconciling the Irreconcilable
| Titlu | |
| Titlu | Art Nouveau : Utopia : Reconciling the Irreconcilable |
| Indici CZU | |
| Indice de bază CZU | 7.035 |
| (084) | |
| (100) | |
| 7.036 | |
| (084) | |
| (100) | |
| 7.04 | |
| (084) | |
| (100) | |
| 7.05 | |
| (084) | |
| (100) | |
| [nedefinit] | 1 |
| Titlu / Menţiuni de responsabilitate | |
| Titlu | Art Nouveau |
| Desemnarea gen. a materialului | Carte tipărită |
| Alte informaţii la titlu | Utopia : Reconciling the Irreconcilable |
| Prima menţ. de resp. | Klaus-Jürgen Sembach |
| Urm. menţ. de responsabilitate | english translation: Charity Scott Stokes |
| Nume de persoană / resp. intelectuală primară | |
| Autor principal | Sembach, Klaus-Jürgen |
| Nume de persoană / resp. intelectuală secundară | |
| Cod de legătură | trad. |
| Autor secundar | Stokes, Charity Scott |
| ISBN | |
| Număr ISBN | 9783836520966 |
| Alt sistem de control al numerelor | |
| Cotă | Ars V 807 |
| Număr (indice) CZU | |
| Număr (indice) CZU | 7.035(100)(084) |
| 7.036(100)(084) | |
| 7.04(100)(084) | |
| 7.05(100)(084) | |
| Alte clasificări | |
| Alte clasificări - Numărul clasei | LS |
| 7/77 | |
| Caracteristicile rubricii | |
| Element de intrare | album |
| Vedetă de subiect ca subiect | |
| Subiect | Art-Nouveau (album) |
| decoraţiuni | |
| design | |
| ornamente | |
| artă modernă | |
| Limba resursei | |
| Limba textului | eng |
| Publicare, distribuţie | |
| Loc publicare | Köln |
| Editura | Taschen |
| Data publicării | 2016 |
| Descriere fizică | |
| Desemnarea specifica a mat. | 240 p. |
| Alte detalii fizice | fotogr. color |
| Note generale de catalogare | |
| Textul notei | MR artă |
| Notă generală | |
| Textul notei | Bibliografie p. 238 |
| Notă de rezumat/abstract | |
| Abstract/Sumar | Organic reform: Reactionary tendrils, flowers, and flowing linesFor a fruitful period between the 1880s and the First World War, European and North American culture deferred to nature. With a symphony of flowing lines and organic shapes, Art Nouveau ( New Art ) inflected architecture, design, painting, graphic work, applied arts, and illustration.Art Nouveau was deliberately nouveau. With a spirit of willful reform, its practitioners sought to distance themselves from the imitative historicism that characterized much 19th-century art and replace it with undulating, decorative qualities. Turning to vine tendrils, flowering buds, and bird feathers as ornamental reference, they pursued not only a linear freedom but also liberation from the weight of artistic tradition and expectation.At the same time, Art Nouveau followed the example of the earlier English Aesthetic and Arts and Crafts movements to reject established hierarchies of artistic practice, to emphasize a return to handcraftsmanship, and to synthesize artistic media and practices into a Gesamtkunstwerk, or total work of art. In this, as in its turn to nature, Art Nouveau is often seen as an aesthetic response to the Industrial Revolution, a recoil from the mass-produced and mechanic, and an elevation of the human hand and wonders of the great outdoors.This fresh TASCHEN edition considers Art Nouveau as a broad historical phenomenon with distinct local features. We consider the style s wider artistic, economic, and political circumstances, as well as its particular flavor in such hubs as Vienna, Glasgow, Munich, Weimar, and Chicago. Outstanding proponents such as Victor Horta, Antoni Gaudi, and Charles Rennie Mackintosh are featured in connection with the cities of their greatest activity. The result is a vivid portrait of the age and a movement that is as much entrenched in our imagination of the fin de siecle as it is in the trajectory of modernism." |
Ars V 807
Sembach, Klaus-Jürgen
Art Nouveau : Utopia : Reconciling the Irreconcilable / Klaus-Jürgen Sembach ; english translation: Charity Scott Stokes.- Köln : Taschen , 2016.
240 p. : fotogr. color.
Bibliografie p. 238
Organic reform: Reactionary tendrils, flowers, and flowing linesFor a fruitful period between the 1880s and the First World War, European and North American culture deferred to nature. With a symphony of flowing lines and organic shapes, Art Nouveau ( New Art ) inflected architecture, design, painting, graphic work, applied arts, and illustration.Art Nouveau was deliberately nouveau. With a spirit of willful reform, its practitioners sought to distance themselves from the imitative historicism that characterized much 19th-century art and replace it with undulating, decorative qualities. Turning to vine tendrils, flowering buds, and bird feathers as ornamental reference, they pursued not only a linear freedom but also liberation from the weight of artistic tradition and expectation.At the same time, Art Nouveau followed the example of the earlier English Aesthetic and Arts and Crafts movements to reject established hierarchies of artistic practice, to emphasize a return to handcraftsmanship, and to synthesize artistic media and practices into a Gesamtkunstwerk, or total work of art. In this, as in its turn to nature, Art Nouveau is often seen as an aesthetic response to the Industrial Revolution, a recoil from the mass-produced and mechanic, and an elevation of the human hand and wonders of the great outdoors.This fresh TASCHEN edition considers Art Nouveau as a broad historical phenomenon with distinct local features. We consider the style s wider artistic, economic, and political circumstances, as well as its particular flavor in such hubs as Vienna, Glasgow, Munich, Weimar, and Chicago. Outstanding proponents such as Victor Horta, Antoni Gaudi, and Charles Rennie Mackintosh are featured in connection with the cities of their greatest activity. The result is a vivid portrait of the age and a movement that is as much entrenched in our imagination of the fin de siecle as it is in the trajectory of modernism.".
ISBN 9783836520966
I Stokes, Charity Scott(trad.)
1. Art-Nouveau (album)
2. decoraţiuni
3. design
4. ornamente
5. artă modernă
7.035(100)(084)
7.036(100)(084)
7.04(100)(084)
7.05(100)(084)
299
__
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330 __ $aOrganic reform: Reactionary tendrils, flowers, and flowing linesFor a fruitful period between the 1880s and the First World War, European and North American culture deferred to nature. With a symphony of flowing lines and organic shapes, Art Nouveau ( New Art ) inflected architecture, design, painting, graphic work, applied arts, and illustration.Art Nouveau was deliberately nouveau. With a spirit of willful reform, its practitioners sought to distance themselves from the imitative historicism that characterized much 19th-century art and replace it with undulating, decorative qualities. Turning to vine tendrils, flowering buds, and bird feathers as ornamental reference, they pursued not only a linear freedom but also liberation from the weight of artistic tradition and expectation.At the same time, Art Nouveau followed the example of the earlier English Aesthetic and Arts and Crafts movements to reject established hierarchies of artistic practice, to emphasize a return to handcraftsmanship, and to synthesize artistic media and practices into a Gesamtkunstwerk, or total work of art. In this, as in its turn to nature, Art Nouveau is often seen as an aesthetic response to the Industrial Revolution, a recoil from the mass-produced and mechanic, and an elevation of the human hand and wonders of the great outdoors.This fresh TASCHEN edition considers Art Nouveau as a broad historical phenomenon with distinct local features. We consider the style s wider artistic, economic, and political circumstances, as well as its particular flavor in such hubs as Vienna, Glasgow, Munich, Weimar, and Chicago. Outstanding proponents such as Victor Horta, Antoni Gaudi, and Charles Rennie Mackintosh are featured in connection with the cities of their greatest activity. The result is a vivid portrait of the age and a movement that is as much entrenched in our imagination of the fin de siecle as it is in the trajectory of modernism."
975 00 $a7.035
975 00 $a(084)
975 00 $a(100)
975 00 $a7.036
975 00 $a(084)
975 00 $a(100)
975 00 $a7.04
975 00 $a(084)
975 00 $a(100)
975 00 $a7.05
975 00 $a(084)
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955 __ $a1
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700 _0 $aSembach, Klaus-Jürgen
702 _0 $4trad. $aStokes, Charity Scott
010 __ $a9783836520966
035 __ $aArs V 807
675 __ $a7.035(100)(084)
675 __ $a7.036(100)(084)
675 __ $a7.04(100)(084)
675 __ $a7.05(100)(084)
686 __ $aLS $a7/77
608 __ $aalbum
606 __ $aArt-Nouveau (album)
606 __ $adecoraţiuni
606 __ $adesign
606 __ $aornamente
606 __ $aartă modernă
101 0_ $aeng
210 ## $aKöln $cTaschen $d2016
215 __ $a240 p. $cfotogr. color
830 __ $aMR artă
300 __ $aBibliografie p. 238
330 __ $aOrganic reform: Reactionary tendrils, flowers, and flowing linesFor a fruitful period between the 1880s and the First World War, European and North American culture deferred to nature. With a symphony of flowing lines and organic shapes, Art Nouveau ( New Art ) inflected architecture, design, painting, graphic work, applied arts, and illustration.Art Nouveau was deliberately nouveau. With a spirit of willful reform, its practitioners sought to distance themselves from the imitative historicism that characterized much 19th-century art and replace it with undulating, decorative qualities. Turning to vine tendrils, flowering buds, and bird feathers as ornamental reference, they pursued not only a linear freedom but also liberation from the weight of artistic tradition and expectation.At the same time, Art Nouveau followed the example of the earlier English Aesthetic and Arts and Crafts movements to reject established hierarchies of artistic practice, to emphasize a return to handcraftsmanship, and to synthesize artistic media and practices into a Gesamtkunstwerk, or total work of art. In this, as in its turn to nature, Art Nouveau is often seen as an aesthetic response to the Industrial Revolution, a recoil from the mass-produced and mechanic, and an elevation of the human hand and wonders of the great outdoors.This fresh TASCHEN edition considers Art Nouveau as a broad historical phenomenon with distinct local features. We consider the style s wider artistic, economic, and political circumstances, as well as its particular flavor in such hubs as Vienna, Glasgow, Munich, Weimar, and Chicago. Outstanding proponents such as Victor Horta, Antoni Gaudi, and Charles Rennie Mackintosh are featured in connection with the cities of their greatest activity. The result is a vivid portrait of the age and a movement that is as much entrenched in our imagination of the fin de siecle as it is in the trajectory of modernism."
| Barcode/Nr. Inventar | Număr/Ediție | Localizare | Regim resursa | Disponibil | Cota | |
|---|---|---|---|---|---|---|
| 1. | 980458 / 0980458 | D | Împrumut la sala de lectură | Da | Ars V 807 |
| Gestiune | Regim imprumut | Ex. | Acțiune |
|---|---|---|---|
| D | Împrumut la sala de lectură | 1 |
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