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Tijdens haar oratie gaat Saskia de Bodt na hoe het vak van illustrator zich heeft ontwikkeld op het snijvlak van de kunst enerzijds en de literatuur anderzijds. Ze constateert hoe illustratie, vanwege het narratieve aspect, het in de kunstgeschiedenis altijd heeft moeten afleggen tegen de autonome kunst. En hoe literatuurhistorici en filologen het woord altijd boven het beeld hebben gesteld. De Bodt geeft invalshoeken en aanknopingspunten voor onderzoek in dit nieuwe vakgebied. Aan de hand van onder meer de illustraties bij de sprookjes van Andersen en de fantastische verhalen en gedichten van
Illustration of books. --- Book illustration --- Art --- Books --- Decoration and ornament --- Pictures
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The development of photography from its roots in 19th century science gradually transformed book illustration and the dissemination of images. This reference work presents a first comprehensive overview of Belgian photographic literature of the 19th century, both illustrated books and scientific publications. It makes a major contribution to academic study in the field, with a corpus composed of 681 entries and, for each title, indicates locations of surviving copies in institutional collections in Belgium and elsewhere. An introductory essay plots the development of photographic publishing in Belgium, making full use of primary and secondary sources. An album of over eighty images draws on the rich iconography of early Belgian photographic literature, most reprinted here for the first time.
Illustrated books --- Illustration of books --- Photography --- Books --- Book illustration --- Art --- Decoration and ornament --- Pictures --- History
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Balzac, de, Honoré --- Illustration of books --- Book illustration --- Art --- Books --- Decoration and ornament --- Pictures --- Balzac, Honoré de,
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Illustration of books. --- Children's books --- Book illustration --- Art --- Books --- Decoration and ornament --- Pictures --- Juvenile books --- Children's paraphernalia
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Linder, Leslie, Collection --- Children's Art (for Children), English, --- Drawing, English, --- Book Illustration, English, --- Collections --- Collections --- Collections --- Potter, Beatrix,
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Christine de Pizan was one of the few authors of late medieval France involved with all aspects of her manuscripts' production. Her work has received enormous scholarly attention as their subject is nothing less than the history and education of women. This book fills a gap in the scholarship by shifting the attention from their literary content to the imagery chosen to illustrate these two pioneering books on women and their worth. This new focus includes artists of Christine's own choosing to those illustrating The City and The Treasure after her death throughout the peak of the two works' p
French literature --- Women and literature --- Illustration of books --- Romance Literatures --- Languages & Literatures --- French Literature --- Book illustration --- Art --- Books --- Decoration and ornament --- Pictures --- Criticism, Textual --- History --- Christine,
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This Element studies eighteenth- and early nineteenth-century instances of transmediation, concentrating on how the same illustrations were adapted for new media and how they generated novel media constellations and meanings for these images. Focusing on the 'content' of the illustrations and its adaptation within the framework of a new medium, case studies examine the use across different media of illustrations (comprehending both the designs for book illustrations and furniture prints) of three eighteenth-century works: Defoe's Robinson Crusoe (1719), Thomson's The Seasons (1730) and Richardson's Pamela (1740). These case studies reveal how visually enhanced material culture not only makes present the literary work, including its characters and story-world. But they also demonstrate how, through processes of transmediation, changes are introduced to the illustration that affect comprehension of that work. This title is also available as Open Access on Cambridge Core.
Illustration of books --- Intermediality --- History --- Defoe, Daniel, --- Richardson, Samuel, --- Thomson, James, --- Illustrations. --- Semiotics --- Influence (Literary, artistic, etc.) --- Book illustration --- Art --- Books --- Decoration and ornament --- Pictures
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In seventeenth-century northern Europe, as the Aristotelian foundations of scientia were rocked by observation, experiment, confessional strife, and political pressure, natural philosophers came to rely on the printed image to fortify their epistemologies-and none more so than René Descartes. In Skepticism's Pictures, historian of science Melissa Lo chronicles the visual idioms that made, sustained, revised, and resisted Descartes's new philosophy.Drawing on moon maps, political cartoons, student notebooks, treatises on practical mathematics, and other sources, Lo argues that Descartes transformed natural philosophy with the introduction of a new graphic language that inspired a wide range of pictorial responses shaped by religious affiliation, political commitment, and cultural convention. She begins by historicizing the graphic vocabularies of Descartes's Essais and Principia philosophiae and goes on to analyze the religious and civic volatility of Descartes's thought, which compelled defenders (such as Jacques Rohault and Wolferd Senguerd) to reconfigure his pictures according to their local visual cultures-and stimulated enemies (such as Gabriel Daniel) to unravel Descartes's visual logic with devastating irony. In the epilogue, Lo explains why nineteenth-century French philosophers divorced Descartes's thought from his pictures, creating a modern image of reason and a version of philosophy absent visuality.Engaging and accessible, Skepticism's Pictures presents an exciting new approach to Descartes and the visual reception of seventeenth-century physics. It will appeal to historians of early modern European science, philosophy, art, and culture and to art historians interested in histories that give images their argumentative power.
Descartes. --- Essais. --- Gabriel Daniel. --- Jacques Rohault. --- Principia philosophiae. --- Wolferd Senguerd. --- book illustration. --- early modern art and science. --- philosophy. --- prints. --- seventeenth-century art. --- visual culture. --- woodcuts.
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Aujourd’hui, la photographie est un moyen de création et de reproduction des illustrations si commun que nous ne prêtons plus attention à ce choix éditorial, non plus qu’à ses conséquences sur nos manières de penser et d’imaginer. Pourtant, après la divulgation du premier procédé photographique opératoire, effectuée à l’Académie des sciences en 1839, il fallut plusieurs décennies pour que la photographie soit intégrée à l’éventail des techniques d’illustration par les acteurs de l’édition. À cet égard, le livre joua un rôle central. Comme le montre cet essai, la souplesse de ses conditions de production en fit un laboratoire où expérimenter la réunion de textes et d’images aux techniques et aux valeurs incertaines, qui suscitaient autant d’espoirs que d’inquiétudes parmi les professionnels engagés dans la production des illustrés. En s’appuyant sur l’analyse matérielle, économique, sociale et culturelle d’un corpus d’ouvrages publiés en France entre 1820 et 1897, Laureline Meizel nous invite à explorer les pistes défrichées par une galaxie d’acteurs, que connectait le désir d’exploiter le nouveau medium pour éclairer, orner et distinguer les textes à l’édition desquels ils participaient. Cet essai offre ainsi la première synthèse historique des relations établies entre livres et photographies en France au cours du XIXe siècle. Ce faisant, il porte un éclairage singulier sur le devenir-image d’une part non négligeable de l’édition à la période contemporaine. --BnF
Book history --- Photography --- photography [process] --- illustrations [layout features] --- Photobooks --- Illustrated books --- Illustration of books --- Livres illustrés --- Illustration des livres --- Édition --- History --- Histoire. --- Photographie --- Photomechanical processes --- Book illustration
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