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Sight of Death : An Experiment in Art Writing by T. J. Clark (2006, Hardcover)
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Aproximadamente30,02 EUR
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Estado:
En muy buen estado
Libro que se ha leído y que no tiene un aspecto nuevo, pero que está en un estado excelente. No hay desperfectos visibles en la tapa y se incluye sobrecubierta, si procede, para las tapas duras. Todas las páginas están en perfecto estado, sin arrugas ni roturas y no falta ninguna. El texto no está subrayado ni resaltado de forma alguna, y no hay anotaciones en los márgenes. Puede presentar marcas de identificación mínimas en la contraportada o las guardas. Muy poco usado. Consulta el anuncio del vendedor para obtener más información y la descripción de cualquier posible imperfección.
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Envío:
USD5,22 (aprox. 4,48 EUR) USPS Media MailTM.
Ubicado en: Miami, Florida, Estados Unidos
Entrega:
Entrega prevista entre el mar. 14 oct. y el mar. 21 oct. a 94104
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N.º de artículo de eBay:388980581244
Última actualización el 20 sep 2025 15:17:58 H.EspVer todas las actualizacionesVer todas las actualizaciones
Características del artículo
- Estado
- ISBN
- 9780300117264
Acerca de este producto
Product Identifiers
Publisher
Yale University Press
ISBN-10
0300117264
ISBN-13
9780300117264
eBay Product ID (ePID)
50583016
Product Key Features
Book Title
Sight of Death : an Experiment in Art Writing
Number of Pages
192 Pages
Language
English
Publication Year
2006
Topic
Individual Artists / General, Subjects & Themes / Landscapes & Seascapes, General
Illustrator
Yes
Genre
Art
Format
Hardcover
Dimensions
Item Height
1 in
Item Weight
29.7 Oz
Item Length
8.5 in
Item Width
6.3 in
Additional Product Features
Intended Audience
Trade
LCCN
2005-033011
TitleLeading
The
Dewey Edition
22
Dewey Decimal
759.4
Synopsis
Why do we find ourselves returning to certain pictures time and again? What is it we are looking for? How does our understanding of an image change over time? In his latest book T. J. Clark addresses these questions--and many more--in ways that steer art writing into new territory. In early 2000 two extraordinary paintings by Poussin hung in the Getty Museum in a single room, "Landscape with a Man Killed by a Snake" (National Gallery, London) and the Getty's own "Landscape with a Calm". Clark found himself returning to the gallery to look at these paintings morning after morning, and almost involuntarily he began to record his shifting responses in a notebook. The result is a riveting analysis of the two landscapes and their different views of life and death, but more, a chronicle of an investigation into the very nature of visual complexity. Clark's meditations--sometimes directly personal, sometimes speaking to the wider politics of our present image-world--track the experience of viewing art through all its real-life twists and turns., Why do we find ourselves returning to certain pictures time and again? What is it we are looking for? How does our understanding of an image change over time? In his latest book T. J. Clark addresses these questionsand many morein ways that steer art writing into new territory. In early 2000 two extraordinary paintings by Poussin hung in the Getty Museum in a single room, "Landscape with a Man Killed by a Snake" (National Gallery, London) and the Getty's own "Landscape with a Calm." Clark found himself returning to the gallery to look at these paintings morning after morning, and almost involuntarily he began to record his shifting responses in a notebook. The result is a riveting analysis of the two landscapes and their different views of life and death, but more, a chronicle of an investigation into the very nature of visual complexity. Clark s meditationssometimes directly personal, sometimes speaking to the wider politics of our present image-worldtrack the experience of viewing art through all its real-life twists and turns. ", Why do we find ourselves returning to certain pictures time and again? What is it we are looking for? How does our understanding of an image change over time? In his latest book T. J. Clark addresses these questions--and many more--in ways that steer art writing into new territory. In early 2000 two extraordinary paintings by Poussin hung in the Getty Museum in a single room, Landscape with a Man Killed by a Snake (National Gallery, London) and the Getty's own Landscape with a Calm . Clark found himself returning to the gallery to look at these paintings morning after morning, and almost involuntarily he began to record his shifting responses in a notebook. The result is a riveting analysis of the two landscapes and their different views of life and death, but more, a chronicle of an investigation into the very nature of visual complexity. Clark's meditations--sometimes directly personal, sometimes speaking to the wider politics of our present image-world--track the experience of viewing art through all its real-life twists and turns.
LC Classification Number
ND553.P8C57 2006
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