Catalogue, estampes anciennes et modernes, ornements, portraits, Bonnart, costumes de théâtre, coiffures, modes, pièces historiques, caricatures, vignettes, illustration, école du XVIIIe siècle, Fragonard (Contes de La Fontaine), Moreau (Chansons de La Borde), eaux-fortes pures, pièces en couleur, Debucourt (Modes et Manières, Promenade publique, etc.), dessins, pastels, etc., 2e partie de la collection de feu M. Charles Bonnomet de Vedreuil, dont la vente aura lieu Hôtel des Commissaires-priseurs, rue Drouot ... les jeudi 29, vendredi 30 et samedi 31 mai 1879 ... Me Tual, commissaire-priseur ... et Me Gauthier, son confrère ... assistés de M. Vignères, marchand d'éstampes ...


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Metamorphoses


Book Description

We are all fascinated by the mystery of metamorphosis – of the caterpillar that transforms itself into a butterfly. Their bodies have almost nothing in common. They don’t share the same world: one crawls on the ground and the other flutters its wings in the air. And yet they are one and the same life. Emanuele Coccia argues that metamorphosis – the phenomenon that allows the same life to subsist in disparate bodies – is the relationship that binds all species together and unites the living with the non-living. Bacteria, viruses, fungi, plants, animals: they are all one and the same life. Each species, including the human species, is the metamorphosis of all those that preceded it – the same life, cobbling together a new body and a new form in order to exist differently. And there is no opposition between the living and the non-living: life is always the reincarnation of the non-living, a carnival of the telluric substance of a planet – the Earth – that continually draws new faces and new ways of being out of even the smallest particle of its disparate body. By highlighting what joins humans together with other forms of life, Coccia’s brilliant reflection on metamorphosis encourages us to abandon our view of the human species as static and independent and to recognize instead that we are part of a much larger and interconnected form of life.




Catalogue, estampes anciennes principalement de l'école française du XVIIIe siècle, pièces en couleur ... vignettes d'après Moreau, pour oeuvres de Molière ... eaux-forts modernes ... dessins anciens et modernes ... dont la vente aura lieu Hôtel des commissaires-priseurs, rue Drouot ... le mardi 5 décembre 1876 ... Me Maurice Delestre, commissaire-priseur successeur de M. Delbergue-Cormont ... assisté de M. Loizelet, marchand d'estampes ...


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Retracing the Expanded Field


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Scholars and artists revisit a hugely influential essay by Rosalind Krauss and map the interactions between art and architecture over the last thirty-five years. Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five years. If modernists invented the model of an ostensible “synthesis of the arts,” their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary art's transformation of modernist medium-specificity into postmodernist medium multiplicity, the art historian Rosalind Krauss published an essay, “Sculpture in the Expanded Field,” that laid out in a precise diagram the structural parameters of sculpture, architecture, and landscape art. Krauss tried to clarify what these art practices were, what they were not, and what they could become if logically combined. The essay soon assumed a canonical status and affected subsequent developments in all three fields. Retracing the Expanded Field revisits Krauss's hugely influential text and maps the ensuing interactions between art and architecture. Responding to Krauss and revisiting the milieu from which her text emerged, artists, architects, and art historians of different generations offer their perspectives on the legacy of “Sculpture in the Expanded Field.” Krauss herself takes part in a roundtable discussion (moderated by Hal Foster). A selection of historical documents, including Krauss's essay, presented as it appeared in October, accompany the main text. Neither eulogy nor hagiography, Retracing the Expanded Field documents the groundbreaking nature of Krauss's authoritative text and reveals the complex interchanges between art and architecture that increasingly shape both fields. Contributors Stan Allen, George Baker, Yve-Alain Bois, Benjamin Buchloh, Beatriz Colomina, Penelope Curtis, Sam Durant, Edward Eigen, Kurt W. Forster, Hal Foster, Kenneth Frampton, Branden W. Joseph, Rosalind Krauss, Miwon Kwon, Sylvia Lavin, Sandro Marpillero, Josiah McElheny, Eve Meltzer, Michael Meredith, Mary Miss, Sarah Oppenheimer, Matthew Ritchie, Julia Robinson, Joe Scanlan, Emily Eliza Scott, Irene Small, Philip Ursprung, Anthony Vidler







Epirus Revisited. New Perceptions of Its History and Material Culture


Book Description

A presentation of the new results in the research about Epirus.00The opening of the borders of Albania in the 1990s stimulated an increased interest in its cultural heritage and led to extensive research, as well as archaeological investigations. These, however, have mainly concentrated within Albania's present-day borders and have lacked broader contextualization. Very recent excavations in Greece, which resulted from the construction of the new Ionia Odos highway, have, however brought to light unexpected and interesting material that changes our image of the monumental topography and the settlements in Epirus. New studies concerning Epirus and its broader connections during the early and later Ottoman periods provide a broader impression of the region and its relationships with the large economic centres of the West, as well as with the spiritual-religious and political centres of the Balkans.







Catalogue d'estampes anciennes & modernes diverses écoles, portraits, ornements, voitures ... caricatures école française, XVIIIe siècle ... dessins, provenant de la collection de M. le comte *** dont la vente aura lieu Hotel des Commissaires-priseurs, rue Drouot ... les lundi 27, mardi 28 et mercredi 29 février 1860 par le ministère de Me Delbergue-Cormont, com[missai]re-priseur ... assisté de M. Vignères, marchand d'estampes ...


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