673 Résultats
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The Rococo interior : decoration and social spaces in early eighteenth-century Paris / Katie Scott.
The Rococo interior : decoration and social spaces in early eighteenth-century Paris / Katie Scott.
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ix, 342 pages : illustrations (some color) ; 30 cm
Description:
ix, 342 pages : illustrations (some color) ; 30 cm
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New Haven : Yale University Press, ©1995.
New Haven : Yale University Press, ©1995.
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The Rococo interior : decoration and social spaces in early eighteenth-century Paris / Katie Scott.
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ix, 342 pages : illustrations (some color) ; 30 cm
The Rococo interior : decoration and social spaces in early eighteenth-century Paris / Katie Scott.
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ix, 342 pages : illustrations (some color) ; 30 cm
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New Haven : Yale University Press, ©1995.
New Haven : Yale University Press, ©1995.
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Invented cities : the creation of landscape in nineteenth-century New York and Boston / Mona Domosh.
Invented cities : the creation of landscape in nineteenth-century New York and Boston / Mona Domosh.
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New Haven : Yale University Press, ©1995.
New Haven : Yale University Press, ©1995.
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Invented cities : the creation of landscape in nineteenth-century New York and Boston / Mona Domosh.
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Invented cities : the creation of landscape in nineteenth-century New York and Boston / Mona Domosh.
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New Haven : Yale University Press, ©1995.
New Haven : Yale University Press, ©1995.
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xii, 301 pages, 16 unnumbered pages of plates : illustrations, maps ; 21 cm
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xii, 301 pages, 16 unnumbered pages of plates : illustrations, maps ; 21 cm
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New York : Vintage Books, 2002.
New York : Vintage Books, 2002.
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The seduction of place : the history and future of the city / Joseph Rykwert ; [with a new afterword].
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xii, 301 pages, 16 unnumbered pages of plates : illustrations, maps ; 21 cm
The seduction of place : the history and future of the city / Joseph Rykwert ; [with a new afterword].
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xii, 301 pages, 16 unnumbered pages of plates : illustrations, maps ; 21 cm
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New York : Vintage Books, 2002.
New York : Vintage Books, 2002.
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The stoa of Attalos II in Athens / [prepared by Homer A. Thompson ; photography by Alison Frantz].
The stoa of Attalos II in Athens / [prepared by Homer A. Thompson ; photography by Alison Frantz].
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32 unnumbered pages : illustrations, map ; 22 cm.
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32 unnumbered pages : illustrations, map ; 22 cm.
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Princeton, N.J. : American School of Classical Studies at Athens, 1959.
Princeton, N.J. : American School of Classical Studies at Athens, 1959.
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The stoa of Attalos II in Athens / [prepared by Homer A. Thompson ; photography by Alison Frantz].
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32 unnumbered pages : illustrations, map ; 22 cm.
The stoa of Attalos II in Athens / [prepared by Homer A. Thompson ; photography by Alison Frantz].
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32 unnumbered pages : illustrations, map ; 22 cm.
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Princeton, N.J. : American School of Classical Studies at Athens, 1959.
Princeton, N.J. : American School of Classical Studies at Athens, 1959.
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xxi, 1350 pages : illustrations ; 29 cm
Description:
xxi, 1350 pages : illustrations ; 29 cm
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New Haven, Conn. : Yale University Press ; New York : New-York Historical Society, ©1995.
New Haven, Conn. : Yale University Press ; New York : New-York Historical Society, ©1995.
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The encyclopedia of New York City / edited by Kenneth T. Jackson.
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xxi, 1350 pages : illustrations ; 29 cm
The encyclopedia of New York City / edited by Kenneth T. Jackson.
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xxi, 1350 pages : illustrations ; 29 cm
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New Haven, Conn. : Yale University Press ; New York : New-York Historical Society, ©1995.
New Haven, Conn. : Yale University Press ; New York : New-York Historical Society, ©1995.
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103 pages, 8 unnumbered pages of plates : illustrations (chiefly color) ; 22 cm
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103 pages, 8 unnumbered pages of plates : illustrations (chiefly color) ; 22 cm
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Zürich, Switzerland : Scheidegger & Spiess, [2019], ©2019
Zürich, Switzerland : Scheidegger & Spiess, [2019], ©2019
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Bettina Pousttchi : metropolitan life / a cura di Giuliana Altea, Antonella Camarda.
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103 pages, 8 unnumbered pages of plates : illustrations (chiefly color) ; 22 cm
Bettina Pousttchi : metropolitan life / a cura di Giuliana Altea, Antonella Camarda.
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103 pages, 8 unnumbered pages of plates : illustrations (chiefly color) ; 22 cm
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Zürich, Switzerland : Scheidegger & Spiess, [2019], ©2019
Zürich, Switzerland : Scheidegger & Spiess, [2019], ©2019
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xiii, 258 pages : illustrations ; 24 cm
Description:
xiii, 258 pages : illustrations ; 24 cm
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New York : Oxford University Press, 2000.
New York : Oxford University Press, 2000.
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Museums in the German art world from the end of the old regime to the rise of modernism / James J. Sheehan.
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xiii, 258 pages : illustrations ; 24 cm
Museums in the German art world from the end of the old regime to the rise of modernism / James J. Sheehan.
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xiii, 258 pages : illustrations ; 24 cm
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New York : Oxford University Press, 2000.
New York : Oxford University Press, 2000.
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276 pages : illustrations (some color), maps ; 33 cm
Description:
276 pages : illustrations (some color), maps ; 33 cm
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London : Thames & Hudson, 2005.
London : Thames & Hudson, 2005.
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The rose window : splendour and symbol / Painton Cowen.
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276 pages : illustrations (some color), maps ; 33 cm
The rose window : splendour and symbol / Painton Cowen.
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276 pages : illustrations (some color), maps ; 33 cm
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London : Thames & Hudson, 2005.
London : Thames & Hudson, 2005.
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$39.95
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials,(...)
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials,(...)
Publication:
avril 2003, Cambridge / London
avril 2003, Cambridge / London
Titre:
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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$39.95
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Résumé:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
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avril 2003, Cambridge / London
avril 2003, Cambridge / London
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$60.00
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Résumé:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material(...)
$60.00
(disponible sur commande)
Résumé:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material(...)
Publication:
avril 2000, Cambridge
avril 2000, Cambridge
Titre:
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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Prix:
$60.00
(disponible sur commande)
Résumé:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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Prix:
$60.00
(disponible sur commande)
Résumé:
The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
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livres
livres
Publication:
avril 2000, Cambridge
avril 2000, Cambridge
