Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Illustration and Ornamentation in the Iberian Book World, 1450-1800
"In the early modern Iberian book world, as in the European book world more broadly, most works issuing from the presses contained some form of ornamentation. The nineteen contributions presented here cast light on these visual elements-on the production and ownership of printers' materials, and on the frequency with which these materials were exchanged and shared. A third of all items printed in the early modern Iberian world carried no imprint at all; for these items, woodblocks and engravings can assist scholars seeking to identify their place of origin or their date of publication. As importantly, decoration and illustration in early print can also reveal much about the history of the graphic arts and evolving forms of cultural representation"--
Art Nouveau Ornamentation
At the height of the Art Nouveau movement and into the early days of Art Deco, Christian Stoll Studios was a leading and prolific source of graphic design. The Leipzig-based firm, which produced beautiful stock books for all forms of design applications, was active chiefly from 1900 to the beginning of World War I and renowned for their staff of creative artists. Three of Stoll's designers are responsible for the majority of the works in this volume: Richard Kühnel, Hugo Sachs, and Josef Pilters. Their illustrations appear here in more than 90 breathtaking plates that range from single- to full-color. Collected from rare originals of the studio's stock portfolios, these designs have been unavailable for over a century. The highly stylized images — consisting chiefly of flowers, grapes, wreaths, and other botanical motifs — are rendered in many different shapes and sizes. Their splendid variety and versatility form an abundant source of reference and inspiration for graphic and textile designers, artists, art students, and anyone seeking striking Art Nouveau ornaments.
The Little Book of Typographic Ornament
This little book contains a beautiful and varied collection of typographic ornaments sourced from specimen books of type foundries, dating from 1700. David Jury explains how the need for typographic ornaments arose and developed, and sets them in their historical context. The chapters cover natural forms; geometric forms; rules and borders; wreaths, borders and scrolls; and pictorial ornaments. The last chapter charts the rise of the graphic designer over the last century, and how modern designers are now reinterpreting these typographic ornaments into new forms of art. The Little Book of Typographic Ornament will be an invaluable reference for graphic designers, as well as providing a source of copyright-free images.
Treasury of Book Ornament and Decoration
Rare, royalty-free initials, musical motifs, animals, borders, frames, more. Art Nouveau, Art Deco, other styles.
Die Welt der Ornamente
Teeming with tapestries, manuscript illuminations, carpets, and tiles, this far-reaching compendium brings together the two greatest 19th-century catalogues of ornament into one indispensable reference book. Encompassing designs from medieval times through to the 19th century, in styles as diverse as Egyptian, Etruscan, or Middle Eastern, this...
Ornament and Order
Over the last forty years, graffiti and street-art have become a global phenomenon within the visual arts. Whilst they have increasingly been taken seriously by the art establishment (or perhaps the art market), their academic and popular examination still remains within old debates which argue over whether these acts are vandalism or art, and which examine the role of graffiti in gang culture and in terms of visual pollution. Based on an in-depth ethnographic study working with some of the world’s most influential Independent Public Artists, this book takes a completely new approach. Placing these illicit aesthetic practices within a broader historical, political, and aesthetic context, i...
Ornament
This text is a wide-ranging consideration of the cultural and symbolic significance of ornament, its rejection by modernism and its subsequent reinvention. Trilling explains how ornament works, why it has to be explained and why it matters.
The V&A Sourcebook of Pattern & Ornament
A richly illustrated sourcebook of two-dimensional pattern and three-dimensional ornamentation, for designers everywhere and anyone interested in visual culture. This richly illustrated, easy-to-navigate sourcebook of surface pattern and three-dimensional ornamentation presents more than one thousand historic and contemporary examples from around the world, each one succinctly identified and explained. Arranged thematically, it is unique among pattern books, as it includes examples not only of surface pattern but also three-dimensional ornamentation and embellishment, from Japanese kimono and William Morris fabrics to Chinese porcelain and contemporary furniture. Creatives working today are as fascinated and inspired by pattern and ornament as they have always been and this expertly compiled selection will appeal to designers, artists, and illustrators from all disciplines as well as anyone interested in visual and material culture.
Ornamentation in Baroque and Post-baroque Music
Ornaments play an enormous role in the music of the seventeenth and eighteenth centuries, and ambiguities in their notation (as well as their frequent omission in the score) have left doubt as to how composers intended them to be interpreted. Frederick Neumann, himself a violinist and conductor, questions the validity of the rigid principles applied to their performance. In this controversial work, available for the first time in paperback, he argues that strict constraints are inconsistent with the freedom enjoyed by musicians of the period. The author takes an entirely new look at ornamentation, and particularly that of J. S. Bach. He draws on extensive research in England, France, Germany, Italy, and the United States to show that prevailing interpretations are based on inadequate evidence. These restrictive interpretations have been far-reaching in their effect on style. By questioning them, this work continues to stimulate a reorientation in our understandiing of Baroque and post-Baroque music.
