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Books on the topic 'Painted objects'

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1

Decorative designs: Over 100 ideas for painted interiors, furniture, and decorated objects. Boston: Little, Brown, 1996.

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2

A, Schwartz Steven, ed. Fantastic painted finishes: Twenty-eight recipes for transforming ordinary objects into extraordinary treasures. New York: Crown Trade Paperbacks, 1994.

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3

Wassong, Lisa. Fantastic painted finishes: Twenty-eight recipes for transforming ordinary objects into extraordinary treasures. New York: Crown Trade Paperbacks, 1994.

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4

Richard, Gartley, ed. Chinas: Hand-painted marbles of the late 19th century. Zanesville, Ohio: Muskingum Valley Archaeological Survey, 1990.

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5

Navarro, M. Pilar. Decorating ceramics: A guide to the history, materials, equipment, and techniques of ornamenting ceramic objects with applied, incised, and painted decoration. New York: Watson-Guptill Publications, 1996.

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6

Power, Dale. Carving miniature carousel animals. Atglen, PA: Schiffer Pub., 1997.

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7

Découpage & decorative paint finishes: Creating treasures out of everyday objects. Pleasantville, N.Y: Reader's Digest, 1995.

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8

Indiana, Gary, author of foreword and Ramírez Nelson interviewer, eds. Building my silence. Milan: Charta, 2013.

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9

Ingres, Jean-Auguste-Dominique. Lettres d'Ingres à Marcotte d'Argenteuil. Nogent-le-Roi: Librairie des Arts et Métiers-Ed. Jacques Laget, 1999.

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10

Ingres, Jean-Auguste-Dominique. Lettres d'Ingres à Marcotte d'Argenteuil. Nogent-le-Roi: Librairie des Arts et Métiers-Editions Jacques Laget, 2001.

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11

Ingres, Jean-Auguste-Dominique. Lettres d'Ingres à Marcotte d'Argenteuil. Nogent-le-Roi: Librairie des Arts et Métiers-Editions Jacques Laget, 2001.

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12

Thomas, Troy. Poussin's Women. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463721844.

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Poussin’s Women: Sex and Gender in the Artist’s Works examines the paintings and drawings of the well-known seventeenth-century French painter Nicolas Poussin (1594-1665) from a gender studies perspective, focusing on a critical analysis of his representations of women. The book’s thematic chapters investigate Poussin’s women in their roles as predators, as lustful or the objects of lust, as lovers, killers, victims, heroines, or models of virtue. Poussin’s paintings reflect issues of gender within his social situation as he consciously or unconsciously articulated its conflicts and assumptions. A gender studies approach brings to light new critical insights that illuminate how the artist represented women, both positively and negatively, within the framework in his seventeenth-century culture. This book covers the artist’s works from Classical mythology, Roman history, Tasso, and the Bible. It serves as a good overview of Poussin as an artist, discussing the latest research and including new interpretations of his major works.
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13

Feller, Robert L. Contributions to conservation science: A collection of Robert Feller's published studies on artists' paints, paper, and varnishes. Pittsburgh: Carnegie Mellon University Press, 2002.

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14

Books, Anomalist, ed. Art, life, and UFOs. San Antonio: Anomalist Books, 2009.

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15

Burghartz, Susanna, Lucas Burkart, Christine Göttler, and Ulinka Rublack, eds. Materialized Identities in Early Modern Culture, 1450-1750. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463728959.

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This collection embraces the increasing interest in the material world of the Renaissance and the early modern period, which has both fascinated contemporaries and initiated in recent years a distinguished historiography. The scholarship within is distinctive for engaging with the agentive qualities of matter, showing how affective dimensions in history connect with material history, and exploring the religious and cultural identity dimensions of the use of materials and artefacts. It thus aims to refocus our understanding of the meaning of the material world in this period by centring on the vibrancy of matter itself. To achieve this goal, the authors approach "the material" through four themes – glass, feathers, gold paints, and veils – in relation to specific individuals, material milieus, and interpretative communities. In examining these four types of materialities and object groups, which were attached to different sensory regimes and valorizations, this book charts how each underwent significant changes during this period.
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16

Pi︠a︡tnadt︠s︡atʹ let i pi︠a︡tnadt︠s︡atʹ dneĭ GT︠S︡KhRM, 1945-1961: K 90-letii︠u︡ VKhNRT︠S︡ imeni akademika I.Ė. Grabari︠a︡. Moskva: M-Skanrus, 2008.

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17

Boom, Michael. The Amiga: Images, sounds, and animation on the Commodore Amiga. Redmond, Wash: Microsoft Press, 1986.

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18

Uri mok kagu ŭi mŏt. Kyŏnggi-do Pʻaju-si: Porim, 2007.

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19

Papathomas, Thomas V. Reverse-Perspective Art and Objects—Illusions in Depth and Motion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0030.

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The main goal of this chapter is to present the relatively new art form of reverspectives, invented and refined by Patrick Hughes. Reverspectives are painted on nonplanar surfaces that jut out of the wall, yet the painted scenery contains strong reverse-perspective cues that cause depth reversal: convex and concave parts are perceived as concave and convex, respectively. Reverspectives also appear to move vividly as viewers move past them. The chapter presents a wide variety of reverspectives, as well as a related class of illusions that are painted on large spheres, producing depth inversion and illusory motion. The chapter provides a plausible explanation for the percepts obtained with these types of stimuli.
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20

Geisha: Beyond the Painted Smile. George Braziller, 2004.

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21

Gartley, Richard, and Jeff Carskadden. Chinas Hand Painted Marbles of the Late 19th Century. Muskingum Valley Archaeological, 1990.

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22

Hurlbert, Anya. The Chromatic Mach Card. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0049.

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The object colors that we see are constructed by the visual brain and may therefore be significantly influenced by other visual attributes we perceive the object to possess. This chapter describes an illusion that illustrates one such interdependence between perceived object shape and color. The Chromatic Mach Card is a folded concave card, one side painted white and the other magenta. When the card is perceived in inverted depth, or convex, the pinkish reflections cast by the magenta side onto the white side appear deeper in saturation and painted thereon. Like the nineteenth-century Mach Card that inspired it, the chromatic Mach Card demonstrates that the apparent surface reflectance properties of objects—and, hence, their colors—are inextricably linked to the perception of 3D shape and scene configuration via the visual brain’s inbuilt knowledge of the physics of mutual reflection.
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23

Charleston, R. J. Glass and Enamels: The James A. Rothschild Collection at Waddesdon (James A. de Rothschild Collection at Waddesdon Manor). Unicorn Press, 2006.

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24

Riggs, Christina. 3. Making Egyptian art and architecture. Oxford University Press, 2014. http://dx.doi.org/10.1093/actrade/9780199682782.003.0003.

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‘Making Egyptian art and architecture’ looks at the evidence for how artists, craftspeople, and architects, such as Irtysen from around 2000 bc, learned their trades and carried out their work, providing insights into the meanings and relationships that art and architecture helped create in ancient Egyptian society. The natural world was exploited for materials to create a wide array of objects and buildings: the mould-made, fired faience for Horudja’s shabti; the carved sandstone and architectural design for the temple of Dendur; the highly polished granodiorite of the Sekhmet statues; the carved, joined, and painted wood of Djed-djehuty-iwef-ankh’s nested coffins; and the linen required to embalm bodies.
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25

Little, Jean. Simple Objects (Paint with Water). Golden Books, 1992.

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26

Picasso: The Objects. Art Books Intl Ltd, 1996.

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27

Quinn, Edward. Picasso: The Objects. Assouline, 2003.

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28

Sears, Erin L. Mesoamerica—Maya. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.011.

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This chapter reviews attempts to derive meaning from Late Classic Maya ceramic figurines. Early concerns with classificatory procedures have evolved beyond an often site-specific viewpoint to include more regional perspectives that incorporate technological characteristics and an awareness of manufacturing practices. Recent studies have gained inspiration from the content analysis of figural painted polychrome vessels or other relief renderings to permit interpretative forays into the meaning of the represented figurine imagery. Rather than discussing figurines as an isolated body of material culture, variation in theme, image and technology are being explored relative to depositional patterning, and relation to different social levels of ancient communities, especially the residue of ritual devotions. While these portable, miniaturized musical sculptures are still occasionally presented as singular objects that symbolize ancient lifeways, there is increasing recognition that when they are evaluated within the context of special deposits, deeper understandings may be inferred.
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29

Bedock, Camille. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198779582.003.0001.

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Based on where a painter places her easel, the same landscape will be represented differently. Some objects will appear distant and blurred, others close up and colourful. The sun will light up the sky in a particular and unique way at any given time, so that the very same object may seem different on another day or from another perspective. For an impressionist painter, reality would be represented as a series of broken brush strokes, whereas a Renaissance Florentine painter would emphasize lines and devote time to the geometric construction of the painting. This can be applied as a metaphor for change and stability: according to a researcher’s chosen perspective, she may place greater emphasis on elements that vary, or on those that remain the same, she may pay greater attention to particular details, or focus more on general impressions, so that what she sees as reality is, in fact, only a particular perspective. To understand how conceptions of reality become crystallized within particular research perspectives, it is useful to draw a parallel between party system change and institutional change before presenting the topic of this book: institutional engineering in Western Europe during the last two decades....
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30

Tweedie, James. The Afterlife of Art and Objects. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.003.0006.

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Like the tableau vivant, the cinematic still life experienced a stunning revival and reinvention in the late twentieth century. In contrast to the stereotypically postmodern overload of images, the still life in film initiates a moment of repose and contemplation within a medium more often defined by the forward rush of moving pictures. It also involves a profound meditation on the relationship between images and objects consistent with practices as diverse as the Spanish baroque still life and the Surrealist variation on the genre. With the work of Terence Davies and Alain Cavalier’s Thérèse (1986) as its primary touchstones, this chapter situates this renewed interest in the cinematic still life within the context of both the late twentieth-century cinema of painters and a socially oriented art cinema that focuses on marginal people and overlooked objects rather than the hegemonic historical narratives also undergoing a revival at the time.
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31

Wheeler, Ryan, and Joanna Ostapkowicz, eds. Iconography and Wetsite Archaeology of Florida's Watery Realms. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9781683400783.001.0001.

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Frank Hamilton Cushing’s 1896 excavations at Key Marco revealed astonishing carved and painted wooden artifacts rarely seen by archaeologists. Those following in Cushing’s footsteps have assembled a corpus of aesthetic objects from Florida, often in perishable materials. These range from an embarrassing number of dugout canoes, to the wooden animal carvings of Fort Center’s mortuary pond and the owl totem of Hontoon Island. Connections to neighboring areas have been sought with some success; in general, however, the diversity of imagery often makes comparison a challenge. The chapters in this book explore new discoveries and revisit existing museum collections, asking new questions or employing innovative analytical techniques. Cushing concluded his slim Key Marco report with the surmise that the boundless life of the sea provided the energetic impulse behind the artworks that he uncovered. While we might reach a different conclusion today, it is clear that ancient Florida is difficult to comfortably place within the Southeast or Caribbean and that much of that difficulty arises from the iconography born of Florida’s watery landscapes.
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32

Kingdom, Frederick A. A. When Light Looks Like Paint. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0051.

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This chapter describes misperceptions of light Occasionally, nonuniform illumination such as a cast shadow, shading, or a spotlight appears to be paint or stain, or even a familiar object: in short, light appears to be “material.” Artists have for a long time been interested in how people distinguish material from illumination in their search for ways to depict shadows and shading, and vision scientists have devoted much effort to understanding how vision distinguishes material from illumination using carefully crafted laboratory stimuli. In this chapter examples are described from the natural visual world as well as from art. The chapter argues that such misperceptions are rational interpretations made by vision when the normal rules for the occurrence of spatially nonuniform illumination are violated. Concepts covered include terminology. Mach card, Hering’s shadow illusion, the Gelb effect, shadow art illusion, chromatic shadow illusion, and shadows that appear as objects.
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33

John, Wainwright, and Davis Keeling Trowbridge (Firm), eds. Fantasy finishes: Paint techniques for interiors, furniture and objects. London: Macdonald Orbis, 1989.

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34

Leader, Elizabeth. Discarded Ancestors: Collage with Photography, Paint, and Found Objects. City of Light Publishing, 2020.

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35

Discarded Ancestors: Collage with Photography, Paint, and Found Objects. City of Light Publishing, 2020.

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36

Marshall, Colin. Locke and Compassion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198809685.003.0003.

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This chapter presents the core thought behind the larger argument of the book by appealing to John Locke’s theory of ideas, according to which some ideas have the distinctive epistemic goodness of resembling qualities in their objects. While Locke believed that only ideas of certain physical qualities had this goodness, it is argued here that Locke’s views imply that it is also had by certain compassionate states. The moral significance of this is illustrated using a case in which one person is pained by the suffering of an injured wombat while another person is amused. The former person intuitively seems morally better and also, on the Lockean view, has a reaction that resembles a quality in its object, since pain resembles pain. It is shown that the Lockean view can help address some potential objections to this conclusion about compassion.
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37

Ceramic and Glassware Style: Paint Your Own Tableware, Glassware, & Decorative Objects. Watson-Guptill Publications, 2000.

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38

Balafrej, Lamia. The Making of the Artist in Late Timurid Painting. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474437431.001.0001.

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This book constitutes the first exploration of artistic self-reflection in Islamic art. In the absence of a tradition of self-portraiture, how could artists signal their presence within a painting? Centred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter’s delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist’s likeness. Influenced by the culture of the majlis, an institutional gathering devoted to intricate literary performances and debates, late Timurid painters used a number of strategies to shift manuscript painting from an illustrative device to a self-reflective object, designed to highlight the artist’s imagination and manual dexterity. These strategies include visual abundance, linear precision, the incorporation of inscriptions addressing aspects of the painting and the artist’s signature. Focusing on one of the most iconic manuscripts of the Persianate tradition, the Cairo Bustan made in late Timurid Herat and bearing the signatures of the painter Bihzad, this book explores Persian manuscript painting as a medium for artistic performance and self-representation, a process by which artistic authority was shaped and discussed. In addition, each chapter explores a different theme: how painters challenged the conventions of royal representation (chapter 1); the role of writing in painting, its relation to ekphrasis and the context of the majlis (chapter 2); image, mimesis and potential world (Chapter 3); the line and its calligraphic quality (Chapter 4); signature (Chapter 5); the mobility of manuscripts (epilogue).
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39

Popenhagen, Ron J. Modernist Disguise. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474470056.001.0001.

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This book chronicles and theorises face and body masking in arts and culture from the mid-nineteenth century to the new millennium. While featuring the modernist era in France, analyses include commentary on performers and visual artists from the margins of the European continent: Ireland and the Baltics; Denmark and the Mediterranean. Representations of silent Pierrots on stage are contrasted with images of fixed-form maskers and masquerades; two-dimensional depictions in paintings and photographs further the study of the form-altered human figure. The relationship of the European avant-garde with indigenous masquerade from Africa and the Americas is discussed and presented in a series of eighteen photographic counterpoints. Modernist explorations of the masked gaze and the nature of looking with the painted face are considered. Meanings suggested by the disguised body in motion and in stasis are investigated via citations of the work of a wide range of masqueraders: Akarova, Bernhardt, Cahun, Höch, Fuller, Mnouchkine, Stein and Wigman, as well as Artaud, Barrault, Cocteau, Copeau, Deburau, Fo, Milhaud and Picasso. Connections between modernist disguising with manifestations of masquerade in daily life, fashion, fine art, media, opera and theatre are proposed while arguing that masking and the carnivalesque are omnipresent in contemporary culture. Modernist Disguise provides greater understanding of the impact of facial masking upon everyday interactions and perceptions experienced, for instance, during the ongoing COVID-19 pandemic. The book proposes an interdisciplinary and international lexicon for critical conversation on masking objects, mask play and masquerade as performance.
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40

Hansen, Christine, and Tom Griffiths. Living with Fire. CSIRO Publishing, 2012. http://dx.doi.org/10.1071/9780643104808.

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Within the Yarra River catchment area nestles the valley of Steels Creek, a small shallow basin in the lee of Kinglake plateau and the Great Dividing Range. The escarpment walls of the range drop in a series of ridges to the valley and form the south-eastern boundary of the Kinglake National Park. The gentle undulations that flow out from the valley stretch into the productive and picturesque landscape of Victoria’s famous wine growing district, the Yarra Valley. Late on the afternoon of 7 February 2009, the day that came to be known as Black Saturday, the Kinglake plateau carried a massive conflagration down the fringing ranges into the Steels Creek community. Ten people perished and 67 dwellings were razed in the firestorm. In the wake of the fires, the devastated residents of the valley began the long task of grieving, repairing, rebuilding or moving on while redefining themselves and their community. In Living with Fire, historians Tom Griffiths and Christine Hansen trace both the history of fire in the region and the human history of the Steels Creek valley in a series of essays which examine the relationship between people and place. These essays are interspersed with four interludes compiled from material produced by the community. In the immediate aftermath of the fire many people sought to express their grief, shock, sadness and relief in artwork. Some painted or wrote poetry, while others collected the burnt remains of past treasures from which they made new objects. These expressions, supplemented by historical archives and the essays they stand beside, offer a sensory and holistic window into the community’s contemporary and historical experiences. A deeply moving book, Living with Fire brings to life the stories of one community’s experience with fire, offering a way to understand the past, and in doing so, prepare for the future.
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41

Contributions to Conservation Science: A Collection of Robert Feller's Published Works on Artists' Paints, Paper, and Varnishes. Carnegie-Mellon University Press, 2002.

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42

Marshall, Colin. Beyond the Present. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198809685.003.0006.

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This chapter argues that subjects can be in touch with things outside their immediate environment, and applies this conclusion to compassion. Three cases of being in touch with spatial properties are considered, in which subjects “see in their mind’s eye,” episodically remember, and vividly anticipate properties of objects. Though none of these states are perceptions in the familiar sense, it is argued that they share some of perception’s irreplaceable epistemic goodness. Differences in being in touch are then found to coincide with intuitive moral distinctions in cases in which agents are or are not pained by spatially distant, past, and future pains. Finally, a potential objection is addressed about agents becoming ineffective through getting caught up in some thought of distant pain.
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43

F, Hansen Eric, International Institute for Conservation of Historic and Artistic Works. United Kingdom Group., and Getty Conservation Institute, eds. Matte paint: Its history and technology, analysis, properties and conservation treatment : with special emphasis on ethnographic objects. [Marina del Rey, Calif.]: Getty Conservation Institute in association with the International Institute for Conservation of Historic and Artistic Works (IIC), London, 1993.

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44

L'inventaire du tresor du dauphin futur Charles V, 1363: Les debuts d'un grand collectionneur (Archives de l'art francais). Libr. des arts et metiers--Editions J. Laget [distributor], 1996.

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45

Danielle, Gaborit-Chopin, and Bibliothèque nationale de France, eds. L' inventaire du trésor du dauphin futur Charles V, 1363: Les débuts d'un grand collectionneur. Paris: Société de l'histoire de l'art français, 1996.

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46

photographer, Schwake Rainer, ed. Art camp: A simple guide to making art with paper, nature, recyclables, paint, found objects and everyday materials. Two Little Birds Books, 2015.

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47

Matte paint: Its history and technology, analysis, properties and conservation treatment : with a special emphasis on ethnographic objects. Marina del Rey, Calif: Getty Conservation Institute in association with the International Institute for Conservation of Historic and Artistic Works (IIC), London, 1993.

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48

Paint effects: How to make beautiful gifts and objects for the home, from basic techniques to finishing touches. Tiger Books International, 1995.

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49

(Editor), David Sylvester, ed. Rene Magritte: Catalogue Raisonne : Oil Paintings, Objects, and Bronzes 1949-1967. Sotheby Parke Bernet Pubns, 1994.

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50

Babayan, Kathryn. The City as Anthology. Stanford University Press, 2021. http://dx.doi.org/10.11126/stanford/9781503613386.001.0001.

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Household anthologies of seventeenth-century Isfahan collected everyday texts and objects, from portraits, letters, and poems to marriage contracts and talismans. With these family collections, Kathryn Babayan tells a new history of the city, at the transformative moment it became a cosmopolitan center of imperial rule. Bringing people's lives into view for a city with no extant state or civic archives, Babayan reimagines the archive of anthologies to recover how residents shaped their communities and crafted their urban, religious, and sexual selves. Babayan highlights eight residents—from king to widow, painter to religious scholar, poet to bureaucrat—who anthologized their city, writing their engagements with friends and family, divulging the many dimensions of the social, cultural, and religious spheres of life in Isfahan. Through them, we see the gestures, manners, and sensibilities of a shared culture that configured their relations and negotiated the lines between friendship and eroticism. These entangled acts of seeing and reading, desiring and writing converge to fashion the refined urban self through the sensual and the sexual—and give us a new and enticing view of the city of Isfahan.
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