Prima edizione First Edition. Ouvrage contenant reproductions directes d'aprs les oeuvres du Maitre. Con riproduzioni in seppia. Ex libris in seconda di copertina.
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Pagine in ottimo stato qualche lieve fioritura alle pagine con le illustrazioni senza interessamento delle figure Ex libris on inner front cover. Some light yellowing. Very good paperback copy; edges somewhat slightly dust-dulled and nicked.
Remains particularly well-preserved overall; tight bright clean and strong. Notes: i. Exhibition commemorating Rembrandt's death on October 4 Gehouden van 13 september november in het Rijksmuseum Amsterdam. MW Books Ltd. Bern: Kunstmuseum April bis Mai Hold together in orig. Voliminieus linnen portefeuille warin 48 bladen met opgeplakte etsen. Een tweetalig boek Nederlands en Engels samengesteld door Eric Beets met oa.
Used - Good. Ships from the UK. Former Library book. Shows some signs of wear and may have some markings on the inside. Your purchase also supports literacy charities.
Mass market paperback unpaginated. Near fine. Lightest shelfwear to wraps else fine. Tight bright and clean. With reproductions of etchings 3 outsize folding sheets laid-in at rear. Oresko Books Ltd. Used - Very Good. Great condition for a used book!
Lawrence Weschler - Articles & Media
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Library Binding. Very nice clean tight copy free of any marks. No dj as issued. March May Used - Like New. Like New condition. Like New dust jacket. First American edition first printing. Fine cloth-bound hardcover with a touch of crimping to the spine ends and a gift inscription to the ffep in a Fine price-clipped dust jacket with a spot of crimping along the top edge. A nice copy. All dust jackets are protected by a clear mylar cover. All the known self-portraits--paintings drawings and etchings--created by Rembrandt van Rijn over the course of his lifetime presented in chronological order and accompanied by an extensive catalog entry for each picture.
Text by Christopher Wright. Appendices: a history of the self-portraits and their reputation concordance of previous commentators bibliography index. Used - Acceptable. Ships from Reno NV. Women with elbows Families making music Pt. The Night Watch : how the sandbank crumbles Evasive action : three ways to shore up the sandbank Captain Cocq and the unruly musketeer Disaggregation as class conflict Manual mischief : the loneliness of the red musketeer.
Melvil Decimal System: 757.09
Between Stad and Stadholder : Captain Cocq's dilemma Posographical misfires An odd couple : the ghost of Anslo's wife Coda : playing soldier. Notes Includes bibliographical references p.
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View online Borrow Buy Freely available Show 0 more links Set up My libraries How do I set up "My libraries"? Monash University Library. Open to the public ; Open to the public R NQ The University of Melbourne Library. Open to the public. University of Western Australia Library. None of your libraries hold this item. Found at these bookshops Searching - please wait We were unable to find this edition in any bookshop we are able to search. Schrijf een review. E-mail deze pagina. Auteur: Harry Berger.
A National Journal of Literature & Discussion
Uitgever: Fordham University Press. Samenvatting A study of the theory and practice of seventeenth-century Dutch group portraits, Manhood, Marriage, and Mischief offers an account of the genre's comic and ironic features, which it treats as comments on the social context of portrait sitters who are husbands and householders as well as members of civic and proto-military organizations. The introduction picks out anomalous touches with which Rembrandt problematizes standard group-portrait motifs in The Night Watch: a shooter who fires his musket into the company; two girls who appear to be moving through the company in the wrong direction; guardsmen who appear to be paying little or no attention to their leader's enthusiastic gesture of command.
Were the patrons and sitters aware of or even complicit in staging the anomalies?
If not, did the painter get away with a subversive parody of militia portrait conventions at the sitters' expense? Parts One and Two respond to these questions at several levels: first, by analyzing the aesthetic structure of group portraiture as a genre; second, by reviewing the conflicting accounts modern scholars give of the civic guard company as an institution; third, by marking the effect on civic guardsmen of a mercantile economy that relied heavily on wives and mothers to keep the homefires burning. Two phenomena persistently recur in the portraits under discussion: competitive posing and performance anxiety.