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fotografie --- fotoromans --- fotografie en literatuur --- fotografie en film --- Nous deux --- Frankrijk --- 77.05
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77 <05> --- 77.01 --- fotografie --- fotografietheorie --- fotografiegeschiedenis --- tijdschriften --- Verenigde Staten --- twintigste eeuw --- Aperture --- Fotografie--Tijdschriften --- Fotografie--Semiotiek van de fotografie. Theorie --- Periodical editors --- Photography. --- White, Minor. --- Aperture (San Francisco, Calif.) --- 77.01 Fotografie--Semiotiek van de fotografie. Theorie --- 77 <05> Fotografie--Tijdschriften --- Aperture (San Francisco, Calif.). --- Photography --- Literary editors --- Magazine editors --- Editors --- Journalists
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In the decades around 1900, postcards were Twitter, email, Flickr and Facebook, all wrapped into one. A postcard craze swept the world, and billions of cards were bought, mailed and pasted into albums. Many famous artists turned to the new medium, but one of the great pleasures and enigmas of postcards is how some of the most beautiful and interesting examples were made by artists whose names we barely know. Drawing on the riches of the Leonard A. Lauder Postcard Collection (probably the finest and most comprehensive collection of its type), this gorgeous book traces the historical and cultural themes--enthralling, exciting, and sometimes disturbing--of the modern age. The first general publication on the postcard as an artistic medium since the mid-1970s, The Postcard Age is organized thematically, with chapters devoted to urban life, the changing role of women, sports, celebrity, new technologies, the stylish collectors' cards of Art Nouveau and World War I. The result is at once a vivid picture of the concerns and pastimes of the turn of the century and a sampler from the Lauder's vast archives.
Postcards --- History --- Collectors and collecting --- Lauder, Leonard A. --- Art collections --- Museum of Fine Arts, Boston --- fotografie --- postkaarten --- collecties --- verzamelingen --- fotomontage --- Parijs --- grafiek --- reclamevormgeving --- oorlog --- wereldoorlog I --- 77.05 --- Exhibitions
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"It is a long-held truism that 'the camera does not lie'. Yet, as Mia Fineman argues in this illuminating volume, that statement contains its own share of untruth. While modern technological innovations, such as Adobe's Photoshop software, have accustomed viewers to more obvious levels of image manipulation, the practice of "doctoring" photographs has in fact existed since the medium was invented. In "Faking It", Fineman demonstrates that today's digitally manipulated images are part of a continuum that begins with the earliest years of photography, encompassing methods as diverse as overpainting, multiple exposure, negative retouching, combination printing, and photomontage. Among the book's revelations are previously unknown and never before published images that document the acts of manipulation behind two canonical works of modern photography: one blatantly fantastical (Yves Klein's "Leap into the Void" of 1960); the other a purportedly unadulterated record of a real place in time (Paul Strand's "City Hall Park" of 1915). Featuring 160 captivating pictures created between the 1840s and 1990s in the service of art, politics, news, entertainment, and commerce, "Faking It" provides an essential counterhistory of photography as an inspired blend of fabricated truths and artful falsehoods."--Publisher's website
photography [process] --- Photography --- Photographie --- Trick photography --- Photography, Handworked --- Effets spéciaux --- Special effects --- fotografie --- twintigste eeuw --- speciale effecten --- fotografische techniek --- beeldmanipulatie --- vervalsingen --- collages --- fotomontage --- 77.05 --- 778 --- 001.95 --- Fotografie--Bijzondere toepassingen --- Wetenschappelijk bedrog en mystificatie --- Exhibitions --- 001.95 Wetenschappelijk bedrog en mystificatie --- 778 Fotografie--Bijzondere toepassingen --- Photographic amusements --- Photography, Trick --- Handworked photography --- Altered prints --- Art and photography --- Drawing --- Effets spéciaux. --- Effets spéciaux.
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