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The history of listening must be constructed from narratives of myth and fiction, silent arts such as painting, the resonance of architecture, auditory artefacts and nature. In such contexts, sound often functions as a metaphor for mystical revelation, instability, forbidden desires, disorder, formlessness, the unknown, unconscious and extra-human, a representation of(...)
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The history of listening must be constructed from narratives of myth and fiction, silent arts such as painting, the resonance of architecture, auditory artefacts and nature. In such contexts, sound often functions as a metaphor for mystical revelation, instability, forbidden desires, disorder, formlessness, the unknown, unconscious and extra-human, a representation of(...)
Title:
Sinister resonance: The mediumship of the listener
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The history of listening must be constructed from narratives of myth and fiction, silent arts such as painting, the resonance of architecture, auditory artefacts and nature. In such contexts, sound often functions as a metaphor for mystical revelation, instability, forbidden desires, disorder, formlessness, the unknown, unconscious and extra-human, a representation of immaterial worlds. As if reading a map of hitherto unexplored territory, Sinister Resonance deciphers sounds and silences buried within the ghostly horrors of Arthur Machen, Shirley Jackson, Charles Dickens, Algernon Blackwood, M.R. James and Edgar Allen Poe, seventeenth century Dutch genre painting from Rembrandt to Vermeer, artists as diverse as Francis Bacon and Juan Munoz, Ad Reinhardt and Piero Della Francesca, and the writing of many modernist authors, including Virginia Woolf, Samuel Beckett, James Joyce and William Faulkner. Threaded through the book is Marcel Duchamp's curious observation "One can look at seeing but one can't hear hearing" and his concept of the infra-thin, those human experiences so fugitive that they exist only in the imaginative absences of perception.
Sinister resonance: The mediumship of the listener
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The history of listening must be constructed from narratives of myth and fiction, silent arts such as painting, the resonance of architecture, auditory artefacts and nature. In such contexts, sound often functions as a metaphor for mystical revelation, instability, forbidden desires, disorder, formlessness, the unknown, unconscious and extra-human, a representation of immaterial worlds. As if reading a map of hitherto unexplored territory, Sinister Resonance deciphers sounds and silences buried within the ghostly horrors of Arthur Machen, Shirley Jackson, Charles Dickens, Algernon Blackwood, M.R. James and Edgar Allen Poe, seventeenth century Dutch genre painting from Rembrandt to Vermeer, artists as diverse as Francis Bacon and Juan Munoz, Ad Reinhardt and Piero Della Francesca, and the writing of many modernist authors, including Virginia Woolf, Samuel Beckett, James Joyce and William Faulkner. Threaded through the book is Marcel Duchamp's curious observation "One can look at seeing but one can't hear hearing" and his concept of the infra-thin, those human experiences so fugitive that they exist only in the imaginative absences of perception.
Form:
books
books
Publication:
May 2010
May 2010
Subject:
Acoustics
Acoustics
Form:
books
books
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$22.95
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A monographic publication featuring multilingual text-film transcripts engaging with the legacy of the German colonial project in Cameroon and Germany, as well as broader questions of border crossings, asylum, and exclusion.The works collected for this publication span installation, video art, and ciné-poems, emerging from anti-racist movements and debates around(...)
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A monographic publication featuring multilingual text-film transcripts engaging with the legacy of the German colonial project in Cameroon and Germany, as well as broader questions of border crossings, asylum, and exclusion.The works collected for this publication span installation, video art, and ciné-poems, emerging from anti-racist movements and debates around(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
February 2026
February 2026
Title:
Brigitta Kuster: Territoires / Territories / Territorien – Filmtranskripte
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A monographic publication featuring multilingual text-film transcripts engaging with the legacy of the German colonial project in Cameroon and Germany, as well as broader questions of border crossings, asylum, and exclusion.The works collected for this publication span installation, video art, and ciné-poems, emerging from anti-racist movements and debates around disidentification, representation, and institutional critique—through the medium of moving images. A key part of the publication comprises films created in French and German as part of the research project ''Choix d'un passé'', in collaboration with Moïse Merlin Mabouna. These films are accompanied by textual and visual sequences from the video works S. – ''Je suis, je lis à haute voix and Erase them!'' – The image as it is falling apart into looks. The reader series ''Scriptings: Political Scenarios'', edited by Achim Lengerer, publishes carefully selected scripts and texts by artists that refer neither to academic forms nor to purely literary forms of writing, but rather embed "text" as a fully integral part of contemporary political and visual art practice.
Brigitta Kuster: Territoires / Territories / Territorien – Filmtranskripte
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A monographic publication featuring multilingual text-film transcripts engaging with the legacy of the German colonial project in Cameroon and Germany, as well as broader questions of border crossings, asylum, and exclusion.The works collected for this publication span installation, video art, and ciné-poems, emerging from anti-racist movements and debates around disidentification, representation, and institutional critique—through the medium of moving images. A key part of the publication comprises films created in French and German as part of the research project ''Choix d'un passé'', in collaboration with Moïse Merlin Mabouna. These films are accompanied by textual and visual sequences from the video works S. – ''Je suis, je lis à haute voix and Erase them!'' – The image as it is falling apart into looks. The reader series ''Scriptings: Political Scenarios'', edited by Achim Lengerer, publishes carefully selected scripts and texts by artists that refer neither to academic forms nor to purely literary forms of writing, but rather embed "text" as a fully integral part of contemporary political and visual art practice.
Form:
books
books
Publication:
February 2026
February 2026
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
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Gumshoe is a new series of architectural books that introduces an original approach to the writing of architectural history. Emulating the detective novel, the focus is on actual buildings rather than on speculative designs and theories. The style and form are fresh and scholarly but also easy and enjoyable to read. In Mysteries of a Communist Cave, the second book in the(...)
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Gumshoe is a new series of architectural books that introduces an original approach to the writing of architectural history. Emulating the detective novel, the focus is on actual buildings rather than on speculative designs and theories. The style and form are fresh and scholarly but also easy and enjoyable to read. In Mysteries of a Communist Cave, the second book in the(...)
Title:
Mysteries of a Communist Cave, Gumshoe #2
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Gumshoe is a new series of architectural books that introduces an original approach to the writing of architectural history. Emulating the detective novel, the focus is on actual buildings rather than on speculative designs and theories. The style and form are fresh and scholarly but also easy and enjoyable to read. In Mysteries of a Communist Cave, the second book in the Gumshoe series, Lytle Shaw conducts an investigation of Oscar Niemeyer’s building for the French Communist Party’s (PCF) central committee in Paris. Designed in 1965, just as party theorists began to rethink many bedrock assumptions about representation, Oscar Niemeyer’s PCF building is a microcosm of the shifting political and architectural landscape of the 1960s. It is also a literal Marxist structure that can thus help us concretely picture just exactly what Structuralist Marxism might have been. Shaw draws out the PCF’s language and context one element at a time and puts the elegant curtain-wall building, with its cave-like assembly hall, into revelatory dialogue with interlocutors in film, philosophy, anthropology, and politics.
Mysteries of a Communist Cave, Gumshoe #2
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Gumshoe is a new series of architectural books that introduces an original approach to the writing of architectural history. Emulating the detective novel, the focus is on actual buildings rather than on speculative designs and theories. The style and form are fresh and scholarly but also easy and enjoyable to read. In Mysteries of a Communist Cave, the second book in the Gumshoe series, Lytle Shaw conducts an investigation of Oscar Niemeyer’s building for the French Communist Party’s (PCF) central committee in Paris. Designed in 1965, just as party theorists began to rethink many bedrock assumptions about representation, Oscar Niemeyer’s PCF building is a microcosm of the shifting political and architectural landscape of the 1960s. It is also a literal Marxist structure that can thus help us concretely picture just exactly what Structuralist Marxism might have been. Shaw draws out the PCF’s language and context one element at a time and puts the elegant curtain-wall building, with its cave-like assembly hall, into revelatory dialogue with interlocutors in film, philosophy, anthropology, and politics.
Form:
books
books
Publication:
July 2026
July 2026
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
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$79.95
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"The Portfolio and the Diagram" is about the changing ways architects see, read, and use the words and images of architectural publications. It begins with an outline of the academic discipline and the mimetic practice of the portfolio, established in America during the late nineteenth century. World War I triggered a historical process that resulted in the demise of the(...)
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"The Portfolio and the Diagram" is about the changing ways architects see, read, and use the words and images of architectural publications. It begins with an outline of the academic discipline and the mimetic practice of the portfolio, established in America during the late nineteenth century. World War I triggered a historical process that resulted in the demise of the(...)
Subject:
Architectural Theory
Architectural Theory
Publication:
April 2002, Cambridge, Massachusetts
April 2002, Cambridge, Massachusetts
Title:
The portfolio and the diagram : architecture, discourse, and modernity in America
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"The Portfolio and the Diagram" is about the changing ways architects see, read, and use the words and images of architectural publications. It begins with an outline of the academic discipline and the mimetic practice of the portfolio, established in America during the late nineteenth century. World War I triggered a historical process that resulted in the demise of the portfolio and the emergence of the discourse of the diagram. The Beaux Arts-trained architects had fashioned their discipline through the meticulous object-centered images of the portfolio. The discourse of the diagram provided a new range of possibility in the architect’s relation to words, images, and buildings. More than the diagram itself, more than the province of narrow-minded functionalists, the discourse of the diagram is a complex formation of texts, concepts, and modes of representation. Concerned less with constructing a new kind of modernism than with understanding the boundaries and structures of modernity, the book is a history of modern architecture as a discursive practice and its striving to become a viable discipline.
The portfolio and the diagram : architecture, discourse, and modernity in America
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$79.95
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Summary:
"The Portfolio and the Diagram" is about the changing ways architects see, read, and use the words and images of architectural publications. It begins with an outline of the academic discipline and the mimetic practice of the portfolio, established in America during the late nineteenth century. World War I triggered a historical process that resulted in the demise of the portfolio and the emergence of the discourse of the diagram. The Beaux Arts-trained architects had fashioned their discipline through the meticulous object-centered images of the portfolio. The discourse of the diagram provided a new range of possibility in the architect’s relation to words, images, and buildings. More than the diagram itself, more than the province of narrow-minded functionalists, the discourse of the diagram is a complex formation of texts, concepts, and modes of representation. Concerned less with constructing a new kind of modernism than with understanding the boundaries and structures of modernity, the book is a history of modern architecture as a discursive practice and its striving to become a viable discipline.
Form:
books
books
Publication:
April 2002, Cambridge, Massachusetts
April 2002, Cambridge, Massachusetts
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
Price:
$62.00
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Summary:
"Architecture, film, and the in-between: spatio-cinematic betwixt" looks at the cinematic representation of architectural in-betweenness, as well as the in-between spaces within the architectural structure of films. As films seek to depict architecture in evolving, original ways, they can also expand betwixt areas, imbuing them with horror or fantasy. Spies can escape(...)
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Summary:
"Architecture, film, and the in-between: spatio-cinematic betwixt" looks at the cinematic representation of architectural in-betweenness, as well as the in-between spaces within the architectural structure of films. As films seek to depict architecture in evolving, original ways, they can also expand betwixt areas, imbuing them with horror or fantasy. Spies can escape(...)
Subject:
Architecture and Film, Set Design
Architecture and Film, Set Design
Publication:
September 2024
September 2024
Title:
Architecture, film, and the in-between: Spatio-cinematic between
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"Architecture, film, and the in-between: spatio-cinematic betwixt" looks at the cinematic representation of architectural in-betweenness, as well as the in-between spaces within the architectural structure of films. As films seek to depict architecture in evolving, original ways, they can also expand betwixt areas, imbuing them with horror or fantasy. Spies can escape inside unconvincingly stable ducts and children can slide through pipes with no discernible function. And just as subway routes and airplanes can stitch together two destinations, loopholes and magic architectural features can connect distinct realms via interstitial spaces. Contributors discuss a range of architects and filmmakers, including John Lautner, David Lynch, Christopher Nolan, Agnès Varda, and Mies van der Rohe, and take diverse approaches to the liminal space between architecture and film, touching on existential experience, post-phenomenological thinking, sociopolitical cinearchitecture, fictive ecologies, and more. Collecting essays by well-respected architects, thinkers, and philosophers—such as Juhani Pallasmaa, Beatriz Colomina, and Graham Harman—the book includes imagery and infographics that map filmic spaces, diagram narratives, and visualize the hidden spatial dimensions of movies.
Architecture, film, and the in-between: Spatio-cinematic between
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"Architecture, film, and the in-between: spatio-cinematic betwixt" looks at the cinematic representation of architectural in-betweenness, as well as the in-between spaces within the architectural structure of films. As films seek to depict architecture in evolving, original ways, they can also expand betwixt areas, imbuing them with horror or fantasy. Spies can escape inside unconvincingly stable ducts and children can slide through pipes with no discernible function. And just as subway routes and airplanes can stitch together two destinations, loopholes and magic architectural features can connect distinct realms via interstitial spaces. Contributors discuss a range of architects and filmmakers, including John Lautner, David Lynch, Christopher Nolan, Agnès Varda, and Mies van der Rohe, and take diverse approaches to the liminal space between architecture and film, touching on existential experience, post-phenomenological thinking, sociopolitical cinearchitecture, fictive ecologies, and more. Collecting essays by well-respected architects, thinkers, and philosophers—such as Juhani Pallasmaa, Beatriz Colomina, and Graham Harman—the book includes imagery and infographics that map filmic spaces, diagram narratives, and visualize the hidden spatial dimensions of movies.
Form:
books
books
Publication:
September 2024
September 2024
Subject:
Architecture and Film, Set Design
Architecture and Film, Set Design
Form:
books
books
Price:
$32.50
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Summary:
The modern world is dominated by flat surfaces. We write, print and project on flat paper or flat screens, which we stare at all day. We inhabit spaces constructed from flat materials. We play sport on level fields. Engineered planar surfaces have become so pervasive and fundamental to behaviour and thought that we barely notice their existence. But flat landscapes are(...)
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Summary:
The modern world is dominated by flat surfaces. We write, print and project on flat paper or flat screens, which we stare at all day. We inhabit spaces constructed from flat materials. We play sport on level fields. Engineered planar surfaces have become so pervasive and fundamental to behaviour and thought that we barely notice their existence. But flat landscapes are(...)
Title:
Flatness
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The modern world is dominated by flat surfaces. We write, print and project on flat paper or flat screens, which we stare at all day. We inhabit spaces constructed from flat materials. We play sport on level fields. Engineered planar surfaces have become so pervasive and fundamental to behaviour and thought that we barely notice their existence. But flat landscapes are also often disparaged, viewed as featureless, empty and monotonous. Metaphorically, to ‘feel flat’ is to be bored, dull, lacking energy or inspiration. So what is it about flatness that makes it so desirable and practical in everyday life, yet so unattractive in landscape and as an idea? How has the construction of flat surfaces contributed to a degradation of visual diversity? "Flatness" attacks these questions by looking first at the ways humans have perceived the natural world around them, from Flat Earth theories to abstract geometric concepts and the Flatness Problem in modern cosmology. It also traces the long historical trajectory of flatness as an engineering ideal, and the representation of the concept in art, music and literature.
Flatness
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Summary:
The modern world is dominated by flat surfaces. We write, print and project on flat paper or flat screens, which we stare at all day. We inhabit spaces constructed from flat materials. We play sport on level fields. Engineered planar surfaces have become so pervasive and fundamental to behaviour and thought that we barely notice their existence. But flat landscapes are also often disparaged, viewed as featureless, empty and monotonous. Metaphorically, to ‘feel flat’ is to be bored, dull, lacking energy or inspiration. So what is it about flatness that makes it so desirable and practical in everyday life, yet so unattractive in landscape and as an idea? How has the construction of flat surfaces contributed to a degradation of visual diversity? "Flatness" attacks these questions by looking first at the ways humans have perceived the natural world around them, from Flat Earth theories to abstract geometric concepts and the Flatness Problem in modern cosmology. It also traces the long historical trajectory of flatness as an engineering ideal, and the representation of the concept in art, music and literature.
Form:
books
books
Publication:
February 2017
February 2017
Subject:
Critical Theory
Critical Theory
Form:
books
books
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$36.00
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Summary:
In his book, Barry Allen develops the philosophical implications of a series of interrelated concepts - knowledge, artifact, design, tool, art, and technology - and uses them to explore parallel questions about artistry in technology and technics in art. This may be seen at the heart of "Artifice and design" in Allen's discussion of seven bridges : he focuses at length on(...)
$36.00
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Summary:
In his book, Barry Allen develops the philosophical implications of a series of interrelated concepts - knowledge, artifact, design, tool, art, and technology - and uses them to explore parallel questions about artistry in technology and technics in art. This may be seen at the heart of "Artifice and design" in Allen's discussion of seven bridges : he focuses at length on(...)
Title:
Artifice and design : art and technology in human experience
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$36.00
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In his book, Barry Allen develops the philosophical implications of a series of interrelated concepts - knowledge, artifact, design, tool, art, and technology - and uses them to explore parallel questions about artistry in technology and technics in art. This may be seen at the heart of "Artifice and design" in Allen's discussion of seven bridges : he focuses at length on two New York bridges — the Hell Gate Bridge and the Bayonne Bridge — and makes use of original sources for insight into the designers' ideas about the aesthetic dimensions of their work. Allen starts from the conviction that art and technology must be treated together, as two aspects of a common, technical human nature. The topics covered in "Artifice and design" are wide-ranging and interdisciplinary, drawing from evolutionary biology, cognitive psychology, and the history and anthropology of art and technology. The book concludes that it is a mistake to think of Art as something subjective, or as an arbitrary social representation, and of Technology as an instrumental form of purposive rationality.
Artifice and design : art and technology in human experience
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$36.00
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Summary:
In his book, Barry Allen develops the philosophical implications of a series of interrelated concepts - knowledge, artifact, design, tool, art, and technology - and uses them to explore parallel questions about artistry in technology and technics in art. This may be seen at the heart of "Artifice and design" in Allen's discussion of seven bridges : he focuses at length on two New York bridges — the Hell Gate Bridge and the Bayonne Bridge — and makes use of original sources for insight into the designers' ideas about the aesthetic dimensions of their work. Allen starts from the conviction that art and technology must be treated together, as two aspects of a common, technical human nature. The topics covered in "Artifice and design" are wide-ranging and interdisciplinary, drawing from evolutionary biology, cognitive psychology, and the history and anthropology of art and technology. The book concludes that it is a mistake to think of Art as something subjective, or as an arbitrary social representation, and of Technology as an instrumental form of purposive rationality.
Form:
books
books
Publication:
July 2008, Ithaca, London
July 2008, Ithaca, London
Subject:
Design Theory
Design Theory
Form:
books
books
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$64.00
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Between the disciplines of art history and the history of science lies a growing field of inquiry into what science and art share as both image-making and knowledge-producing activities. The contributors of Picturing Science, Producing Art occupy this intermediate zone to analyze both scientific and aesthetic representations, utilizing disciplinary perspectives that range(...)
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Between the disciplines of art history and the history of science lies a growing field of inquiry into what science and art share as both image-making and knowledge-producing activities. The contributors of Picturing Science, Producing Art occupy this intermediate zone to analyze both scientific and aesthetic representations, utilizing disciplinary perspectives that range(...)
Title:
Picturing science producing art
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$64.00
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Between the disciplines of art history and the history of science lies a growing field of inquiry into what science and art share as both image-making and knowledge-producing activities. The contributors of Picturing Science, Producing Art occupy this intermediate zone to analyze both scientific and aesthetic representations, utilizing disciplinary perspectives that range from art history to sociology, history and philosophy of science to gender studies, cultural history to the philosophy of mind. Organized in five sites--Styles, The Body, Seeing Wonders, Objectivity/Subjectivity, and Cultures of Vision--their topics extend from Cinquecento theories of female reproduction to the technologies of cloning, from medieval depictions of the stigmata to electrical metaphors for sex, from astronomical drawings to radioencephalography, from Phoenician griffons carved in ivory to factories cast in concrete. The internationally renowned contributors go beyond both science wars and culture wars by exploring substantive links between systems of visual representation and knowledge in science and art. Contributors include Svetlana Alpers, Jonathan Crary, Arnold Davidson, Carlo Ginzburg, Donna Haraway, Bruno Latour, and Simon Schaffer.
Picturing science producing art
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Summary:
Between the disciplines of art history and the history of science lies a growing field of inquiry into what science and art share as both image-making and knowledge-producing activities. The contributors of Picturing Science, Producing Art occupy this intermediate zone to analyze both scientific and aesthetic representations, utilizing disciplinary perspectives that range from art history to sociology, history and philosophy of science to gender studies, cultural history to the philosophy of mind. Organized in five sites--Styles, The Body, Seeing Wonders, Objectivity/Subjectivity, and Cultures of Vision--their topics extend from Cinquecento theories of female reproduction to the technologies of cloning, from medieval depictions of the stigmata to electrical metaphors for sex, from astronomical drawings to radioencephalography, from Phoenician griffons carved in ivory to factories cast in concrete. The internationally renowned contributors go beyond both science wars and culture wars by exploring substantive links between systems of visual representation and knowledge in science and art. Contributors include Svetlana Alpers, Jonathan Crary, Arnold Davidson, Carlo Ginzburg, Donna Haraway, Bruno Latour, and Simon Schaffer.
Form:
books
books
Publication:
June 1998
June 1998
Form:
books
books
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$32.95
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Writing, according to Panayotis Tournikiotis, has always exerted a powerful influence on architecture. Indeed, the study of modern architecture cannot be separated from a fascination with the texts that have tried to explain the idea of a new architecture in a new society. During the last forty years, the question of the relationship of architecture to its history - of(...)
$32.95
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Summary:
Writing, according to Panayotis Tournikiotis, has always exerted a powerful influence on architecture. Indeed, the study of modern architecture cannot be separated from a fascination with the texts that have tried to explain the idea of a new architecture in a new society. During the last forty years, the question of the relationship of architecture to its history - of(...)
Subject:
Architectural Theory
Architectural Theory
Publication:
April 2001, Cambridge, Mass.
April 2001, Cambridge, Mass.
Title:
The historiography of modern architecture
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$32.95
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Summary:
Writing, according to Panayotis Tournikiotis, has always exerted a powerful influence on architecture. Indeed, the study of modern architecture cannot be separated from a fascination with the texts that have tried to explain the idea of a new architecture in a new society. During the last forty years, the question of the relationship of architecture to its history - of buildings to books - has been one of the most important themes in debates about the course of modern architecture. Tournikiotis argues that the history of modern architecture tends to be written from the present, projecting back onto the past our current concerns, so that the "beginning" of the story really functions as a "representation" of its end. In this book the buildings are the quotations, while the texts are the structure. Tournikiotis focuses on a group of books by major historians of the twentieth century: Nikolaus Pevsner, Emil Kaufmann, Sigfried Giedion, Bruno Zevi, Leonardo Benevolo, Henry-Russell Hitchcock, Reyner Banham, Peter Collins, and Manfredo Tafuri. In examining these writers' thoughts, he draws on concepts from critical theory, relating architecture to broader historical models.
The historiography of modern architecture
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$32.95
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Summary:
Writing, according to Panayotis Tournikiotis, has always exerted a powerful influence on architecture. Indeed, the study of modern architecture cannot be separated from a fascination with the texts that have tried to explain the idea of a new architecture in a new society. During the last forty years, the question of the relationship of architecture to its history - of buildings to books - has been one of the most important themes in debates about the course of modern architecture. Tournikiotis argues that the history of modern architecture tends to be written from the present, projecting back onto the past our current concerns, so that the "beginning" of the story really functions as a "representation" of its end. In this book the buildings are the quotations, while the texts are the structure. Tournikiotis focuses on a group of books by major historians of the twentieth century: Nikolaus Pevsner, Emil Kaufmann, Sigfried Giedion, Bruno Zevi, Leonardo Benevolo, Henry-Russell Hitchcock, Reyner Banham, Peter Collins, and Manfredo Tafuri. In examining these writers' thoughts, he draws on concepts from critical theory, relating architecture to broader historical models.
Form:
books
books
Publication:
April 2001, Cambridge, Mass.
April 2001, Cambridge, Mass.
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
Price:
$115.00
(available to order)
Summary:
The discovery of and excavations at Pompeii in the second half of the eighteenth century not only provided historians with a trove of information about ancient Roman civilization but also fired artists' imaginations and inaugurated the vogue for the "Pompeian style" that so influenced the West in the nineteenth century. This book reproduces, along with commentary, "Le(...)
$115.00
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Summary:
The discovery of and excavations at Pompeii in the second half of the eighteenth century not only provided historians with a trove of information about ancient Roman civilization but also fired artists' imaginations and inaugurated the vogue for the "Pompeian style" that so influenced the West in the nineteenth century. This book reproduces, along with commentary, "Le(...)
Subject:
Architectural Drawing
Architectural Drawing
Publication:
September 2002, Los Angeles
September 2002, Los Angeles
Title:
Houses and monuments of Pompeii : the works fo Fausto and Felice Niccolini
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$115.00
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Summary:
The discovery of and excavations at Pompeii in the second half of the eighteenth century not only provided historians with a trove of information about ancient Roman civilization but also fired artists' imaginations and inaugurated the vogue for the "Pompeian style" that so influenced the West in the nineteenth century. This book reproduces, along with commentary, "Le case i monumenti di Pompeii" (1854) of Fausto and Felice Niccolini, the first work to present completely and systematically all the public and private buildings so far excavated in Pompeii. It features the wondrous watercolors the Niccolinis created to document Pompeii and is thus a beautiful and essential tool in understanding the excavated remains themselves and how the modern archaeologists perceived and recorded the ancient world. These reproduced drawings of the excavations are accompanied by texts that explain the documents by the Niccolinis, as well as the evolution of the Pompeian style in Europe, the pictorial representation of Pompeii in the nineteenth century from engravings to photographs, and the evolving styles of archaeological documentation.
Houses and monuments of Pompeii : the works fo Fausto and Felice Niccolini
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$115.00
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Summary:
The discovery of and excavations at Pompeii in the second half of the eighteenth century not only provided historians with a trove of information about ancient Roman civilization but also fired artists' imaginations and inaugurated the vogue for the "Pompeian style" that so influenced the West in the nineteenth century. This book reproduces, along with commentary, "Le case i monumenti di Pompeii" (1854) of Fausto and Felice Niccolini, the first work to present completely and systematically all the public and private buildings so far excavated in Pompeii. It features the wondrous watercolors the Niccolinis created to document Pompeii and is thus a beautiful and essential tool in understanding the excavated remains themselves and how the modern archaeologists perceived and recorded the ancient world. These reproduced drawings of the excavations are accompanied by texts that explain the documents by the Niccolinis, as well as the evolution of the Pompeian style in Europe, the pictorial representation of Pompeii in the nineteenth century from engravings to photographs, and the evolving styles of archaeological documentation.
Form:
books
books
Publication:
September 2002, Los Angeles
September 2002, Los Angeles
Subject:
Architectural Drawing
Architectural Drawing
