586 products were found matching your search for Peijl Caroline van der in 2 shops:

Alex Van der Horst. Alejandro PINO ABETO ALEM N Y PALOSANTO 1988Year 1997Top SpruceBack & Sides Rio RosewoodScale Length 650 mmNut width 52 m...

Tilburg : Stichting Zuidelijk Historisch Contact,1988. Orig. cloth binding. xl,285 pp. (Bijdragen tot de geschiedenis van het Zuiden van Nederland, 78). Condition : very good copy. ISBN 9789070641283. Keywords : HISTORY,

Essays by Wolf Tegethoff, Richard Pommer, and Fritz Neumeyer. Interview with James Ingo Freed. The rich legacy of scholarly and critical reassessments of Mies van der Rohe continues to grow since his centenary in 1986. This book which had its origins in the historic centennial exhibition at the Museum of Modern Art, presents four provocative new writings on Mies augmented by 150 illustrations from MOMA's Mies van der Rohe Archive and other sources. In his insightful introduction, Franz Schulze, author of the acclaimed Mies van der Rohe: A Critical Biography, discusses the reasons why Mies's art and name evokes such a different response today and compares Mies to Frank Lloyd Wright and Le Corbusier in terms of critical fortune. Wolf Tegethoff traces the maturation of Mies's thought during the 1920s, bringing fascinating new research to his examination of this complex European period. Art historian Richard Pommer examines Mies's political ideology and those of other artists of the modern movement in the Weimar years and the first years of the Third Reich. Fritz Neumeyer addresses the issues of tradition and modernity in Mies's life's work through a detailed analysis of several of his earliest buildings. In the concluding piece, architect James Ingo Freed, who studied under Mies at the Illinois Institute of Technology and succeeded him as director of ITT, offers penetrating comments on Mies as an educator and as an architect during his American years. Franz Schulze is Hollender Professor of Art at Lake Forest College. Wolf Tegethoff is Professor at the Zentralinstitut für Kunstgeschichte in Munich. Richard Pommer is Professor of Art History at New York University's Institute of Fine Arts. Fritz Neumeyer is Professor of Architectural Theory at the Technical University, Berlin. James Ingo Freed is a partner in the architectural firm I.M. Pei & Partners. Distributed for the Museum of Modern Art.

The celebrated Laurens van der Post made a life of lies. Those who know him as the advisor of Prince Charles and Margaret Thatcher, author of twenty-three popular, award-winning books, (several of which were made into films) and a speaker for the cause of African peoples will be startled by the revelations in this fascinating biography of a consummate fabricator. Among the romantic highlights in van der Post’s version of his life were an Afrikaner childhood that featured a Bushman nursemaid, decorated military service, a brutal stretch as a POW in the Pacific, his devoted friendship with Carl Jung, and his sympathetic chronicles of the Kalahari Bushmen. Peeling away van der Post’s stories, J. D. F. Jones’s biography shows that most of his tales were tall—designed to dazzle an all-too-gullible world. In reality, van der Post had no Bushman nanny; his World War II military service, for which he abandoned his wife and children, was not particularly distinguished; and his relationship with Jung was tenuous at most. He also advised Britain’s elite, although his credentials were only a tissue of invention that he kept aloft until his death at age ninety in 1996. While disclosing van der Post’s many fictions, Jones never loses sight of his very real charisma and the widespread devotion he inspired. At once probing and unsparing, Teller of Many Tales is also a model of biographic balance and illumination. “...a fantasist, a liar, a serial adulterer... It was to this man that Lady Thatcher turned for advice... Devastating...”—Sunday Telegraph

This in-depth look at Mies van der Rohe's early career is the first to examine the architect's work in Europe in terms of specific historical and cultural context, rather than the more abstract and formal arguments of the International Style. While earlier studies have described a fundamental break between Mies's neo-classical work prior to 1919 and the more avant-garde work of the 1920s, recent research demonstrates that the transformation was much more gradual. Here 11 scholars and architectural historians explore particular aspects of Mies's work, together shedding new light on the continual interplay of tradition and innovation, nature and abstraction, in the evolution of his design theories and methods. With a wealth of photographs and drawings, many not previously published, this book conveys for the first time the dynamic intellectual ferment of this formative period in the life of one of architecture's towering figures. Published to accompany a groundbreaking 2001 exhibition at The Museum of Modern Art, New York.

When you?re in love, the whole world speaks of your beloved. Certainly this is true for Inspector Van der Valk. The beloved is Lucienne Engelbert, the beautiful, troubled daughter of a well known conductor, now orphaned and running riot through Amsterdam. And calling Lucienne to mind is everything and everyone that Van der Valk encounters, from an embittered piano-dealer to a secluded fishing lodge, from a garrulous mechanic to an expensive abandoned car. Clearly, all roads that Van der Valk is traveling lead back to Lucienne. But is love the only connection? Or could Lucienne have something to do with the murder that Van der Valk is investigating?

Mies van der Rohe: A Critical Biography is a major rewriting and expansion of Franz Schulze’s acclaimed 1985 biography, the first full treatment of the master German-American modern architect. Coauthored with architect Edward Windhorst, this revised edition, three times the length of the original text, features extensive new research and commentary and draws on the best recent work of American and German scholars. The authors’ major new discoveries include the massive transcript of the early-1950s Farnsworth House court case, which discloses for the first time the facts about Mies’s epic battle with his client Edith Farnsworth. Giving voice to dozens of architects who knew and worked with (and sometimes against) Mies, this comprehensive biography tells the compelling story of how Mies and his students and followers created some of the most significant buildings of the twentieth century.    

Ludwig Mies Van Der Rohe: Furniture and Furniture Drawings by Ludwig Glaeser.

Rogier Van der Weyden emerged from scholarly and critical neglect only with the revival of interest in the so-called ‘Flemish Primitives’ during the second half of the nineteenth century. The immensely forceful, frequently disturbing images which Van der Weyden produced owed as much to his supreme control of paint as they did to his observation of detail, which was never permitted to dominate the general rhythm and pattern of the picture itself. These qualities fused to create a style with a direct impact but one which was the result of only the most subtle and painstaking calculations of color and balance. Dr Campbell explores Van der Weyden’s position both as official painter to the city of Brussels and within the international system of princely patronage which was evolving during his lifetime.

Photographer Paul Clemence celebrates a revered icon of modern architecture, the Farnsworth House, located near Plano, Illinois, and designed in 1951 by architect Ludwig Mies van der Rohe. Striking architetural details are captured in 20 eye-catching B & W postcards. Whether mailing or framing the stunning images, this book is a must-have for devotees of architecture, design, Modernism, the Bauhaus, Mies van der Rohe, and photography.

Used book in good and clean conditions. Pages and cover are intact. Limited notes marks and highlighting may be present. May show signs of normal shelf wear and bends on edges. Item may be missing CDs or access codes. May include library marks. Fast Shipping

Chief Inspector Piet Van der Valk of the Amsterdam police has a teenage gang on his hands: they are coming into Amsterdam from out-of-town, and they are remarkably professional. They leave behind a trail of wanton damage, senseless brutality, and rape, and one piece of possible evidence- 'the cats won't like it'. "Because of the Cats was an international best-seller-indeed its group-murder plot was reenacted in real life shortly after, in Latin America-and Van der Valk acquired a huge following."-Daily Telegraph

Jan van Eyck steht fur einen Neubeginn innerhalb der Kunstgeschichte des Abendlands, wie er radikaler kaum zu denken ist: Der Kunstler wendet sich der sichtbaren Wirklichkeit zu und entwickelt kunstlerische Mittel, um sie moglichst wirklichkeitsgetreu auf die Leinwand, respektive Tafel zu bringen. Das Buch versucht, dem Kunstler so weit wie irgend moglich zu folgen, sich von ihm leiten, den Blick von ihm lenken zu lassen. Es regt an zu einem sensiblen Umgang mit den Zeichen, die das Bild enthalt, das nicht etwa immer schon Gewusstes bestatigen, sondern den Betrachter uberraschen und mit Neuem konfrontieren will. So gelangt der Betrachter, indem er mit wachem, zugleich kritischem Auge den Hinweisen des Kunstlers folgt, immer tiefer in das Bild hinein, weit uber die blosse Identifizierung von Szene und Figuren hinaus. Am Ende sieht er auf der Bildtafel, was in der Wirklichkeit nicht zu sehen ware, und versteht, worum es eigentlich geht: um die Teilhabe an einer Vision, an einer 'Betrachtung' im mehrfachen Wortsinn."

Essays by Wolf Tegethoff, Richard Pommer, and Fritz Neumeyer. Interview with James Ingo Freed. The rich legacy of scholarly and critical reassessments of Mies van der Rohe continues to grow since his centenary in 1986. This book which had its origins in the historic centennial exhibition at the Museum of Modern Art, presents four provocative new writings on Mies augmented by 150 illustrations from MOMA's Mies van der Rohe Archive and other sources. In his insightful introduction, Franz Schulze, author of the acclaimed Mies van der Rohe: A Critical Biography, discusses the reasons why Mies's art and name evokes such a different response today and compares Mies to Frank Lloyd Wright and Le Corbusier in terms of critical fortune. Wolf Tegethoff traces the maturation of Mies's thought during the 1920s, bringing fascinating new research to his examination of this complex European period. Art historian Richard Pommer examines Mies's political ideology and those of other artists of the modern movement in the Weimar years and the first years of the Third Reich. Fritz Neumeyer addresses the issues of tradition and modernity in Mies's life's work through a detailed analysis of several of his earliest buildings. In the concluding piece, architect James Ingo Freed, who studied under Mies at the Illinois Institute of Technology and succeeded him as director of ITT, offers penetrating comments on Mies as an educator and as an architect during his American years. Franz Schulze is Hollender Professor of Art at Lake Forest College. Wolf Tegethoff is Professor at the Zentralinstitut für Kunstgeschichte in Munich. Richard Pommer is Professor of Art History at New York University's Institute of Fine Arts. Fritz Neumeyer is Professor of Architectural Theory at the Technical University, Berlin. James Ingo Freed is a partner in the architectural firm I.M. Pei & Partners. Distributed for the Museum of Modern Art.

Examines the building designs, interiors, furniture, and project plans of Mies van der Rohe, assessing his impact on the development of modern architecture

Unread book in perfect condition.

In 1956 Johan van der Keuken (1938-2001) moved from Amsterdam to Paris to study at the School of Film. There Van der Keuken took thousands of photographs, the city acting as a background to his feelings of desolation. In 1963 a selection of these were published in a book called 'Paris Mortel'. The complete book, including the original dummy Van der Keuken made and a few previously unpublished photographs are collected in this publication.

183 S. : überwiegend Ill. (z.T. farb.) u. graph. Darst. ; 27 cm Ohne SU, äußerl. leicht schmutzig. Mit Ausnahme von Direkt-Recycling Materialien erfolgt der Versand ohne Einsatz von Kunststoffen. Sprache: Englisch Gewicht in Gramm: 1350

Mies van der Rohe's mastery of spatial composition remains unequalled to this day. Influenced by Gropius and Le Corbusier, he found great inspiration in glass, steel, iron, and concrete. Mies van der Rohe: Architect, provides a comprehensive analysis of this great architect's entire oeuvre and presents a detailed portfolio of 21 key works. Author Yehuda E. Safran is an architectural/art critic based in Paris and New York and is currently Adjunct Associate Professor at Columbia University. Works include: Barcelona Pavilion, Seagram Building, Tugendhat House, Weissenhof Apartment Building, Social Service Administration Building, Farnsworth House, 860-880 Lake Shore Drive, 900-910 Lake Shore Drive, Lafayete Park, IBM Regional Office Building, New National Gallery, S.R. Crown Hall, Lange House, Esters House, Africanischestrasse Housing, and more.

Mies van der Rohe's architecture has been well documented, yet his writings that contain the key to his thought and to understanding his work have been largely unexplored. From Mies' library - including his marginal notes - and from a body of writing that is surprisingly large for the self-described "unwilling author," Fritz Neumeyer reconstructs the metaphysical and philosophical inquiry on which Mies based his modernism. An integrated view of Mies' philosophy of building, including his American career, emerges from Neumeyer's investigation. He proposes, for instance, that the Catholic church architect and writer Rudolf Schwarz, the Bauhaus thinker Siegried Ebeling, and the Catholic scholar Romano Guardini may have exerted an even greater influence on Mies than the frequently cited Plato, St. Augustine, and St. Thomas Aquinas and he points to the ways in which the thinking of other architects, such as Peter Behrens and Hendrik Petrus Berlage, affected Mies's development. Neumeyer also asserts that while Mies fervently believed in technology, in the notion that a building's form had to emerge from the nature of its materials, this view later shifted to include personal ordering of what Mies regarded as spiritual determinants, resulting in a new unity of spirit and fact that was best exemplified in the Barcelona Pavilion. And he argues, in opposition to Bruno Zevi, that the conflict between proclassical and anticlassical concepts and ideas is always present in Mies' work, a dualism of concepts that Mies followed in all his country houses and villas of the 1920s.