Academic literature on the topic 'Catalogues, 1924'
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Journal articles on the topic "Catalogues, 1924"
Zemanek, Alicja, and Piotr Köhler. "Historia Ogrodu Botanicznego Uniwersytetu Stefana Batorego w Wilnie (1919–1939)." Studia Historiae Scientiarum 15 (November 24, 2016): 301–45. http://dx.doi.org/10.4467/23921749shs.16.012.6155.
Full textHÁJEK, JIŘÍ. "World catalogue of the family Callirhipidae (Coleoptera: Elateriformia), with nomenclatural notes." Zootaxa 2914, no. 1 (June 10, 2011): 1. http://dx.doi.org/10.11646/zootaxa.2914.1.1.
Full textGuaraldi, Federica, Davide Gori, Ralph Hruban, and Patrizio Caturegli. "Johns Hopkins Hospital notables portrayed on philatelic material." Journal of Medical Biography 19, no. 4 (November 2011): 161–67. http://dx.doi.org/10.1258/jmb.2011.011036.
Full textRentzou, Effie. "Les Catalogues d’expositions surréalistes à Paris, 1924–1939. Par Colette Leinman." French Studies 70, no. 3 (May 30, 2016): 457. http://dx.doi.org/10.1093/fs/knw150.
Full textDickow, Alexander. "Les catalogues d’expositions surréalistes à Paris, 1924-1939 par by Colette Leinman." French Review 90, no. 4 (2017): 241–42. http://dx.doi.org/10.1353/tfr.2017.0239.
Full textBOUCHARD, PATRICE, and DARREN A. POLLOCK. "Proposed conservation of the name Penthe Newman, 1838 (Coleoptera: Tetratomidae: Penthinae) threatened by the discovery of an older available name." Zootaxa 1972, no. 1 (January 7, 2009): 65–68. http://dx.doi.org/10.11646/zootaxa.1972.1.7.
Full textONSO-ZARAZAGA, MIGUEL A., and CHRISTOPHER H. C. LYAL. "A catalogue of family and genus group names in Scolytinae and Platypodinae with nomenclatural remarks (Coleoptera: Curculionidae)." Zootaxa 2258, no. 1 (October 8, 2009): 1–134. http://dx.doi.org/10.11646/zootaxa.2258.1.1.
Full textКуклинский, И. В. "Unknown drawing by V.I. Surikov from the collection of the Krasnoyarsk Regional Museum of Local Lore." Iskusstvo Evrazii [The Art of Eurasia], no. 1(28) (March 31, 2023): 86–95. http://dx.doi.org/10.46748/arteuras.2023.01.007.
Full textMAKHOV, ILYA. "Geometridae (Lepidoptera) of the Baikal region: keys to species and an annotated catalogue. Part 1. Ennominae." Zootaxa 4962, no. 1 (April 15, 2021): 1–125. http://dx.doi.org/10.11646/zootaxa.4962.1.1.
Full textZeiniev, Gabil, and Aygun Mammadova. "1924-YEAR BANKNOTES OF THE MILITARY CONSUMPTION SOCIETY UNDER THE AZERBAIJAN SHOOTING DIVISION." Metafizika Journal 6, no. 4 (December 15, 2023): 25–46. http://dx.doi.org/10.33864/2617-751x.2023.v6.i4.25-46.
Full textDissertations / Theses on the topic "Catalogues, 1924"
Baby, Vincent. "Le système Molnar : (1946-1976)." Paris 4, 2003. http://www.theses.fr/2003PA040247.
Full textVera Molnar was born in Budapest (Hungary) in 1924. She pursued studies at the Budapest Fine Arts School, where she obtained her diploma in 1947 as an Art History and Aesthetics Professor. During the same year, she migrated to France, along with François Molnar, who would later become her partner in life as well as in creation. They both sttled down in Paris and made it home. Our study seeks to explore Vera Molnar's works in the first years of her creation, during wich time none of them had been sold or put on exhibition. It is during this period that the artist developped modalities of a type of experimental and radical plastic research belonging to the so-called realm of "constructed Art", which can be described even more precisely as "systematic geometrical abstraction" Our investigation consisted in disclosing a large cross-section of Vera Molnar's works during this thirty-year period, in cataloging them, in establishing a hierarchy among them based on chronological divisions ans coherent formal choices, and thereafter in analyzing the modalities of the systems' functioning worked out by the artist. We established a typology responding to three main constructive axes : the universal laws of composition and mathematical laws, the invention and use of the "imaginary machine", the use of tje computer , as early as 1968. Finally, by introducing these works "backward", so to say, in art history, we carried out a theoritical work of re-contextualization aimed at evaluating and situating Vera Molnar' research within the context of artistic movements known as "conceptual" or "minimalist"
Deichmann, Johan Reinder. "Die werk van Alexis Preller, 1934-1928, en 'n catalogue raisonné." Diss., University of Pretoria, 1986. http://hdl.handle.net/2263/57948.
Full textAlexis Preller was born in Pretoria on 6 September 1911 where he died on 13 December 1975. He was the youngest of the five children of Olivia Maria Sandenberg and Mauritz Herman Otto Preller, a cousin of the well known Afrikaner historian and activist for Afrikaans, Gustav Preller. During his school years at the Pretoria Boys' High School, Preller was actively interested in the art of writing and drama. After completing his school education he worked for the City Council of Pretoria. In 1932 he made friends with Norman Eaton who encouraged him to go to Great Britain in order to study art and train as an artist. In 1933 he resigned the position he had held in the City Council of Pretoria and in the following year he left for Great Britain where he met J.H. Pierneef. During his stay in Great Britain he attended the westminster School of Art under Mark Gertler. On his return to Pretoria in 1935 he held his first one man exhibition. From the start it was obvious from his works that colour would be an important element in his work. Initially he was strongly influenced by Van Gogh and Gauguin. In 1937 he left for France where he stayed in Monte Carlo. On his return to South Africa in 1938 he joined the New Group and participated in their first exhibition. After this he and Truter travelled to Swaziland. In 1939 he travelled to the then Belgian Congo (Zaire) which had a most stimulating effect on his art. He returned with numerous ideas, especially the "urn head" (ritual misshapen head of Congo children) which occurred in his work immediately and over and over again in his ensuing work. During the Second World War (1939- 1945) Preller joined the war effort by enlisting in the South African Medical Corps in 1940. In 1941 he was sent to Egypt where he served in the 14th Field Ambulance unit. In 1942 he was taken prisoner of war and sent to Italy. After negotiations with the Red Cross he was repatriated to South Africa in 1943. On his return to his fatherland in 1944, he held an exhibition of his work in Johannesburg. In these paintings fresh ideas were presented. Africa-visions and war impressions converged on his canvasses. In the same year his first studio, Ygdrasil, was built according to designs drawn up by Norman Eaton. On his next visit to Europe in 1946 he spent two months studying the collections of the large art museums in London and Paris. In the Louvre he studied classical Greek sculpture. In 1947 Preller sold his studio and left for the Seychelles. On his return from the Seychelles Preller held exhibitions in Pretoria and Johannesburg in which shell and fish motives as well as Christ heads appeared. Through his use of colour and with the influence of indigenous art in his work, he brought an awareness to South Africa that an European approach cannot be summarily transposed to the South African scene.
Dissertation (MA)--University of Pretoria, 1986.
Visual Arts
MA
Unrestricted
Gauthier, Ninon. "Marcel Barbeau : échos et métamorphoses : catalogue raisonné des peintures (1944-1971) et catalogue raisonné des sculptures (1944-2000)." Paris 4, 2004. http://www.theses.fr/2003PA040057.
Full textThis comprehensive catalogue describes, illustrate, historicizes and comment each work, showing its relationship with the artist's own production and those of his contemporaries. The main commentary, the introduction, the complementary notes and the chronology situate the artist's oeuvre with regards to its sources abs relationship to contemporary works. The chapter on the critiques as well as the annexes. Sources bring complementary information regarding their reception. This thesis shows Barbeau's contribution to Automatism, a Quebec abstract expressionist movement. Barbeau was a pioneer of abstraction in Canada in the mid-forties. With this ever-changing style, Barbeau produced a crossbred work, related to very diversified movements as well as to productions in phonic poetry, music and dance. This study takes into account these transient encounters, showing the permanency of surrealistic, Dadaist and transdisciplinary references within his work
Gilbert, Eva. "Catalogue raisonné du peintre-graveur André Derain, 1880-1954." Paris 4, 1985. http://www.theses.fr/1985PA040129.
Full textToussaint, Évelyne. "Anne et Patrick Poirier : catalogue raisonné, généalogie d'une genèse du pire." Amiens, 2002. http://www.theses.fr/2002AMIE0009.
Full textLe, Pelley Fonteny Monique. "Leon-auguste lhermitte, sa vie, son oeuvre. Catalogue des peintures, pastels, dessins et gravures." Paris 4, 1986. http://www.theses.fr/1986PA040289.
Full textLeon lhermitte, french painter, pastellist, draughtsman and printmaker, was born in mont-saint-pere in 1844 and died in paris in 1925. A student of lecoq de boisbaudran, he perpetuated certain aspects of the barbizon school, of corot, and of breton. From 1864 to 1889 he exhibited religious subjects and depictions of peasant life at the salon des artistes francais. His representations of peasant life became predominant after the success of his la paye des moissonneurs, and following the death of bastien-lepage. Supported by his friend cazin, he became a member of the societe nationale des beaux-arts in 1890 and participated in its annual exhibitions until his death. Known at the beginning of his career for his charcoal drawings and hailed as one of the masters of the exhibition "blanc et noir", lhermitte abandoned this medium in 1886 for pastel, very much in vogue at the end of the 19th century. Throughout his career, the artist received numerous honors, distinctions, and official commissions. Celebrated during his lifetime because his art was supported by the salon jury and by the public, lhermitte took advantage of the success of realism and the rural themes developed principally by millet, and from the image that successive governments wanted to give to the peasant, symbol of work and family values. He was one of the representatives of the official art of the third republique, which by its anecdotal qualities and attention to detail provides a knowledge of the material existence and daily rustic life of rural france before the era of industrialization. Lhermitte participated in the grand current of naturalism of the 1880s that predominated in numerous european countries during the period. If his pictorial production lacks quality in certain respects, his charcoals and certain of his pastels can be appreciated anew for their aesthetic quality
Oppikofer-Brutsch, Françoise. "Gaston Chaissac : totems, masques, pierres et objets enluminés." Paris 1, 1990. http://www.theses.fr/1990PA010601.
Full textLe, Thanh Duc. "Georges Mathieu (1921-2012) : catalogue et étude de son œuvre." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080130.
Full textTraditional french painter georges mathieu is the french father of lyrical abstraction. Born in 1921, he enjoyed great fame in the years 1950-1980 and continued his many activities until his death in 2012. this is the adventure of this painter, alternately revered and controversial, for which we must conduct chronological study of the painted work. the establishment of the comprehensive catalog raisonné serves as a prerequisite for aesthetic analysis of his work. The media image of the painter and the character is very well known, but it is sketchy and hides her bulimia artistic productions, energy-time-space-speed, his vehemence in performance, his defense of traditional arts and crafts french and commitment to rehabilitate and safeguard techniques and ancestral know-how as part of a heritage policy. In the euphoric context of post-war and liberation, georges mathieu, after a degree in philosophy and english, decided to become a painter without initial training in fine arts. He chose the pictorial record of the non-figurative art, his gestures and signs. he explains this choice by a desire to break with mediocrity, to stave off a degrading materiality, and recover freedom usurped. mathieu has mastered multiple facets of art: writer, layout artist, sculptor, architect. This painter, among a constellation of artists, gallerists, critics, has become a spokesman vehement non geometric abstraction around artists such as soulages, wols and hartung. After i graduated in 1996 at the national school of fine arts in hanoi, traditional lacquer option, i followed for five years an academic teaching visual arts (in french tradition since my country is a former french colony) and a master of development, still in the plastic arts. In 2005 i joined the national education as a teacher at the school of fine arts in ho chi minh city (former saigon), open city that seemed to me to western influences of modern art or contemporary. I moved to france in 2008 and i decided to direct my thesis to a problematic centered on the non-figurative painting, so abstract, but not geometric, lyrical inspiration, informal or expressionist postwar. Georges Mathieu benefiting, to date, no catalog raisonné, i decided to call the thesis '' georges mathieu, catalog and study of his work. '' In 1947, mathieu aged 25, joined paris. he met famous painters wols, hartung, soulages, hantaï, atlan, zao wou-ki, vieira da silva, manessier, poliakoff and others. if Mathieu is the inventor of lyrical abstraction is also because qu'angliciste, who will make known american painters such as pollock, tobey, de kooning. director of public relations and quarterly editor united states lines paris review on behalf of a shipping company. it writes articles with the contribution of intellectuals and illustrious artists such as john cage, pierre boulez, frank lloyd wright, claude levis-strauss lupasco, roland barthes, carl jung. meanwhile, Mathieu continued to paint, and sells very early his first paintings. outside the partisan approach, 60 years after his first picture, two years after his death, we have enough distance to see the extent of his repertoire and his pictorial innovations. besides painting, mathieu enthusiasm for graphic arts, decorative and craft art. in this extension there is a growing interest for the development of a bold cultural policy, notably through his writings. Today we know less Georges Mathieu, while each held in the 1970s a piece of 10 francs in his hand, and saw the logo 2. Antenna is time to rehabilitate the painter and give him place in the pantheon of painters abstraction. [...]
Le, Thanh Duc. "Georges Mathieu (1921-2012) : catalogue et étude de son œuvre." Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080130.
Full textTraditional french painter georges mathieu is the french father of lyrical abstraction. Born in 1921, he enjoyed great fame in the years 1950-1980 and continued his many activities until his death in 2012. this is the adventure of this painter, alternately revered and controversial, for which we must conduct chronological study of the painted work. the establishment of the comprehensive catalog raisonné serves as a prerequisite for aesthetic analysis of his work. The media image of the painter and the character is very well known, but it is sketchy and hides her bulimia artistic productions, energy-time-space-speed, his vehemence in performance, his defense of traditional arts and crafts french and commitment to rehabilitate and safeguard techniques and ancestral know-how as part of a heritage policy. In the euphoric context of post-war and liberation, georges mathieu, after a degree in philosophy and english, decided to become a painter without initial training in fine arts. He chose the pictorial record of the non-figurative art, his gestures and signs. he explains this choice by a desire to break with mediocrity, to stave off a degrading materiality, and recover freedom usurped. mathieu has mastered multiple facets of art: writer, layout artist, sculptor, architect. This painter, among a constellation of artists, gallerists, critics, has become a spokesman vehement non geometric abstraction around artists such as soulages, wols and hartung. After i graduated in 1996 at the national school of fine arts in hanoi, traditional lacquer option, i followed for five years an academic teaching visual arts (in french tradition since my country is a former french colony) and a master of development, still in the plastic arts. In 2005 i joined the national education as a teacher at the school of fine arts in ho chi minh city (former saigon), open city that seemed to me to western influences of modern art or contemporary. I moved to france in 2008 and i decided to direct my thesis to a problematic centered on the non-figurative painting, so abstract, but not geometric, lyrical inspiration, informal or expressionist postwar. Georges Mathieu benefiting, to date, no catalog raisonné, i decided to call the thesis '' georges mathieu, catalog and study of his work. '' In 1947, mathieu aged 25, joined paris. he met famous painters wols, hartung, soulages, hantaï, atlan, zao wou-ki, vieira da silva, manessier, poliakoff and others. if Mathieu is the inventor of lyrical abstraction is also because qu'angliciste, who will make known american painters such as pollock, tobey, de kooning. director of public relations and quarterly editor united states lines paris review on behalf of a shipping company. it writes articles with the contribution of intellectuals and illustrious artists such as john cage, pierre boulez, frank lloyd wright, claude levis-strauss lupasco, roland barthes, carl jung. meanwhile, Mathieu continued to paint, and sells very early his first paintings. outside the partisan approach, 60 years after his first picture, two years after his death, we have enough distance to see the extent of his repertoire and his pictorial innovations. besides painting, mathieu enthusiasm for graphic arts, decorative and craft art. in this extension there is a growing interest for the development of a bold cultural policy, notably through his writings. Today we know less Georges Mathieu, while each held in the 1970s a piece of 10 francs in his hand, and saw the logo 2. Antenna is time to rehabilitate the painter and give him place in the pantheon of painters abstraction. [...]
College, of Law University of Arizona. "Law Catalog, 1991-1994." College of Law, University of Arizona (Tucson, AZ), 1991. http://hdl.handle.net/10150/612034.
Full textBooks on the topic "Catalogues, 1924"
Adolfo Feragutti Visconti (1850-1924). Milano: Skira, 2011.
Find full textChantal, Faure, Adon Jean-Philippe, Soulié Muriel, and Tournerie Sarah, eds. Catalogues de libraires et d'éditeurs, 1811-1924: Inventaire. [Paris]: Bibliothèque Nationale de France, 2003.
Find full textGether, Christian. Kai Nielsen 1882-1924, billedhuggeren. [Valby]: Borgen, 1986.
Find full textAmintore, Fanfani, ed. Amintore Fanfani: Dipinti e opere su carta 1924-1996. Milano: Skira, 2006.
Find full textHolger, Jacob-Friesen, Wenn Anja, Schrenk Klaus, and Staatliche Kunsthalle Karlsruhe, eds. Max Beckmann: Druckgraphik 1914-1924. Karlsruhe: Staatliche Kunsthalle Karlsruhe, 2005.
Find full textDix, Otto. Otto Dix: Kritische Grafik, 1920-1924 : "Der Krieg" Radierwerk 1924. [Stuttgart]: Institut für Auslandsbeziehungen, 1993.
Find full textWyder, Bernard. Marius Borgeaud: L'homme, l'oeuvre, 1861-1924 : catalogue raisonné. Lausanne: Bibliothèque des arts, 1999.
Find full textCarl, Auböck, and Carl Auböck Archiv, eds. Carl Auböck, Architekt, 1924-1993: Gestalten der modernen Welt = Carl Auböck, architect 1924-1993 : design for modern living. Salzburg: A. Pustet, 2009.
Find full textKlee, Paul. Paul Klee: Botanisches Theater 1924/1934. München: Städtische Galerie im Lenbachhaus, 2005.
Find full textBillecocq, Xavier Beguin. Impressions et couleurs: Charles Fouqueray un peintre français en Arabie Saoudite (1917-1924) = Inṭibāʻāt wa-alwān : Shārl Fūkrīh rassām Faransī bi-al-Mamlakah al-ʻArabīyah al-Saʻūdīyah (1917-1924) = Impressions and colours : Charles Fouqueray a french painter in Saudi Arabia (1917-1924). Paris: Collection Relations internationales & culture, 1998.
Find full textBook chapters on the topic "Catalogues, 1924"
Danieli, Silvano. "Parsifal come scuola di formazione e di colloborazione." In Biblioteche & bibliotecari / Libraries & librarians, 43–55. Florence: Firenze University Press, 2024. http://dx.doi.org/10.36253/979-12-215-0356-2.09.
Full textTyack, Geoffrey. "Sale Catalogue of George Dance's Books, In D. Watkin (Ed.), Sale Catalogues of Libraries of Eminent Persons." In British Architecture 1760–1914, 125–35. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003111160-24.
Full text"Le Catalogue D’exposition Surrealiste." In Les catalogues d’expositions surréalistes à Paris entre 1924 et 1939, 61–89. Brill | Rodopi, 2015. http://dx.doi.org/10.1163/9789401211994_004.
Full text"Qu’est-ce qu’un catalogue d’exposition ?" In Les catalogues d’expositions surréalistes à Paris entre 1924 et 1939, 25–60. Brill | Rodopi, 2015. http://dx.doi.org/10.1163/9789401211994_003.
Full text"Preliminary Material." In Les catalogues d’expositions surréalistes à Paris entre 1924 et 1939, 1–15. Brill | Rodopi, 2015. http://dx.doi.org/10.1163/9789401211994_001.
Full text"Introduction." In Les catalogues d’expositions surréalistes à Paris entre 1924 et 1939, 17–24. Brill | Rodopi, 2015. http://dx.doi.org/10.1163/9789401211994_002.
Full text"La Dimension Manifestaire du ces. image Identitaire du Groupe." In Les catalogues d’expositions surréalistes à Paris entre 1924 et 1939, 91–137. Brill | Rodopi, 2015. http://dx.doi.org/10.1163/9789401211994_005.
Full text"La Doxa Mise Au Defi." In Les catalogues d’expositions surréalistes à Paris entre 1924 et 1939, 139–81. Brill | Rodopi, 2015. http://dx.doi.org/10.1163/9789401211994_006.
Full text"Conclusion." In Les catalogues d’expositions surréalistes à Paris entre 1924 et 1939, 183–87. Brill | Rodopi, 2015. http://dx.doi.org/10.1163/9789401211994_007.
Full text"Bibliographie." In Les catalogues d’expositions surréalistes à Paris entre 1924 et 1939, 189–202. Brill | Rodopi, 2015. http://dx.doi.org/10.1163/9789401211994_008.
Full textConference papers on the topic "Catalogues, 1924"
Vajna, Sándor, and Michael Schabacker. "INTERPRET: A Communication Tool With Customers via Public Network." In ASME 1997 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1997. http://dx.doi.org/10.1115/detc97/cie-4295.
Full textBeer, Axel, Martin Bierwisch, and Kristina Krämer. "Das MMM2 – Ein regionalgeschichtliches Onlinelexikon der Arbeitsgemeinschaft für mittelrheinische Musikgeschichte." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.108.
Full textFu, X. P., and T. A. Dean. "Development of a Knowledge-Based Sequence Design System for Cross Wedge Rolling." In ASME 1994 International Computers in Engineering Conference and Exhibition and the ASME 1994 8th Annual Database Symposium collocated with the ASME 1994 Design Technical Conferences. American Society of Mechanical Engineers, 1994. http://dx.doi.org/10.1115/cie1994-0402.
Full textTaylor, LeRoy E., and Mark R. Henderson. "The Roles of Features and Abstraction in Mechanical Design." In ASME 1994 Design Technical Conferences collocated with the ASME 1994 International Computers in Engineering Conference and Exhibition and the ASME 1994 8th Annual Database Symposium. American Society of Mechanical Engineers, 1994. http://dx.doi.org/10.1115/detc1994-0014.
Full textReports on the topic "Catalogues, 1924"
Sanjurjo Casciero, Annick. Paraguay and Its Plastic Arts. Inter-American Development Bank, March 1994. http://dx.doi.org/10.18235/0007910.
Full textTweet, Justin, Holley Flora, Summer Weeks, Eathan McIntyre, and Vincent Santucci. Grand Canyon-Parashant National Monument: Paleontological resource inventory (public version). National Park Service, December 2021. http://dx.doi.org/10.36967/nrr-2289972.
Full textCANMET catalogue of publications 1984/1985. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1988. http://dx.doi.org/10.4095/305082.
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