16 products were found matching your search for cowart in 1 shops:

Jack Cowart, Dominique Fourcade

Physical description; ix, 306 p. : ill. (some col.), ports. ; 32 cm. Notes; Catalogue of an exhibition held at the National Gallery of Art, Washington, D.C. and touring United States until 5 Feb. 1989. Includes bibliographical references (p. 295-303) and index. Text by Jack Cowart, Juan Hamilton, Sarah Greenough; including letters by the artist. Summary; The year 1987 marks the centennial of the birth of Georgia O'Keeffe, one of our nation's best known and inventive artists, and this book of her art celebrates that event. Approximately 120 color and 20 black-and-white illustrations. Subjects; O'Keeffe, Georgia (American painter, 1887-1986) - Exhibitions. O'Keeffe, Georgia (American painter, 1887-1986) - Correspondence. O'Keeffe, Georgia (1887-1986) - Exhibitions. O'Keeffe, Georgia (1887-1986) - Correspondence. National Gallery of Art (Washington, D.C.) - Exhibitions. Painters, American - 20th century. Artists - United States - Correspondence. Letters and letter writing. History of art & design styles: from (c 1900 -). Individual artists. Art / History / General. Georgia, O'Keeffe, Genres; Bibliography. Biography. Catalogue. Conference publication. Illustrated.

COLLECTORS COPY NEW, SEALED IN ORIGINAL WRAP. 248 pp., 199 color and b&w illustrations. Many full color images of Roy Lichtenstein's sculpture and drawings, with essays by Jack Cowart, Dorothy Lichtenstein, Cassandra Lozano, Naomi Spector, and Agustin Arteaga, with a chronology by Clare Bell. Published on the occasion of the retrospective at the Corcoran Museum of Art, 1999.[New York, NY]

When Florida newpaperman Matthew Cowart receives a note from an inmate on death row, he tries to ignore its plea, but Cowart becomes convinced of the prisoner's innocence and his investigative articles contribute to the pardon of a monster

Who was Jesus? What was his story? What mark did he leave? What will be your mark?Join celebrity photographer and social artist Jeremy Cowart as he presents 21 compelling stories of “mark makers” - people who are making their mark on the world today. Right now. Just like you. These are just a sampling of the tales that followers of Jesus can tell―stories of those from all walks of life whose inspiration is rooted in the truths found in the Gospel of Mark.You’ll be captivated, challenged, and changed as you read of the mark makers in the full-color, fully-illustrated book that contains the complete Gospel of Mark. And you’ll be inspired to make your mark―whether through your occupation, your talents, or your selfless love and giving to others. Maybe you teach children at a school or at home, or maybe you care for the homeless or provide food to the hungry. You may be an artist, musician, accountant, or athlete. If you are human, you are making a mark. And as you read, you are invited to ask―and answer―the question: “What mark am I making?”This is your chance. Be inspired. Make every moment count.· 120 full-color pages of Scripture, stories, and photography by renowned photographer Jeremy Cowart· 21 photos and stories of people―some names you’ll recognize, others not so well known―making their mark· Scripture text of the Gospel of Mark from the bestselling New International Version (NIV) Bible

Book by Cowart, Jack, Elderfield, John, Schneider, Pierre

The Fundacion Juan March (Madrid) presents a selection of 97 works created between 1966 and 1997 by Roy Lichtenstein (1923-1997) who, together with Andy Warhol, was one of the major exponents of American Pop Art. Organized in collaboration with the Roy Lichtenstein Foundation in New York and curated by Jack Cowart, this book offers for the first time a complete and unedited vision of the different stages of the artist s work process.

Lieberman, Lauren J., Cowart, Jim F.

Thomas Pynchon helped pioneer the postmodern aesthetic. His formidable body of work challenges readers to think and perceive in ways that anticipate―with humor, insight, and cogency―much that has emerged in the field of literary theory over the past few decades. For David Cowart, Pynchon’s most profound teachings are about history―history as myth, as rhetorical construct, as false consciousness, as prologue, as mirror, and as seedbed of national and literary identities.In one encyclopedic novel after another, Pynchon has reconceptualized historical periods that he sees as culturally definitive. Examining Pynchon’s entire body of work, Cowart offers an engaging, metahistorical reading of V.; an exhaustive analysis of the influence of German culture in Pynchon’s early work, with particular emphasis on Gravity’s Rainbow; and a critical spectroscopy of those dark stars, Mason & Dixon and Against the Day. He defends the California fictions The Crying of Lot 49, Vineland, and Inherent Vice as roman fleuve chronicling the decade in which the American tapestry began to unravel. Cowart ends his study by considering Pynchon’s place in literary history.Cowart argues that Pynchon has always understood the facticity of historical narrative and the historicity of storytelling―not to mention the relations of both story and history to myth. Thomas Pynchon and the Dark Passages of History offers a deft analysis of the problems of history as engaged by our greatest living novelist and argues for the continuity of Pynchon’s historical vision.

COLLECTORS COPY NEW, SEALED IN ORIGINAL WRAP. 248 pp., 199 color and b&w illustrations. Many full color images of Roy Lichtenstein's sculpture and drawings, with essays by Jack Cowart, Dorothy Lichtenstein, Cassandra Lozano, Naomi Spector, and Agustin Arteaga, with a chronology by Clare Bell. Published on the occasion of the retrospective at the Corcoran Museum of Art, 1999.[New York, NY]

Prominent components of Louis XIV’s propaganda, the arts of spectacle also became sources of a potent resistance to the monarchy in late seventeenth-century France. With a particular focus on the court ballet, comedy-ballet, opera, and opera-ballet, Georgia J. Cowart tells the long-neglected story of how the festive arts deployed an intricate network of subversive satire to undermine the rhetoric of sovereign authority. With bold revisionist strokes, Cowart traces this strain of artistic dissent through the comedy-ballets of Jean-Baptiste Lully and Molière, the late operatic works of Lully and the operas of his sons, the opera-ballets of André Campra and his contemporaries, and the related imagery of Antoine Watteau’s well-known painting The Pilgrimage to Cythera. She contends that through a variety of means, including the parody of old-fashioned court entertainments, these works reclaimed traditional allegories for new ideological aims, setting the tone for the Enlightenment. Exploring these arts from the perspective of spectacle as it emerged from the court into the Parisian public sphere, Cowart ultimately situates the ballet and related genres as the missing link between an imagery of propaganda and an imagery of political protest.

Prominent components of Louis XIV’s propaganda, the arts of spectacle also became sources of a potent resistance to the monarchy in late seventeenth-century France. With a particular focus on the court ballet, comedy-ballet, opera, and opera-ballet, Georgia J. Cowart tells the long-neglected story of how the festive arts deployed an intricate network of subversive satire to undermine the rhetoric of sovereign authority. With bold revisionist strokes, Cowart traces this strain of artistic dissent through the comedy-ballets of Jean-Baptiste Lully and Molière, the late operatic works of Lully and the operas of his sons, the opera-ballets of André Campra and his contemporaries, and the related imagery of Antoine Watteau’s well-known painting The Pilgrimage to Cythera. She contends that through a variety of means, including the parody of old-fashioned court entertainments, these works reclaimed traditional allegories for new ideological aims, setting the tone for the Enlightenment. Exploring these arts from the perspective of spectacle as it emerged from the court into the Parisian public sphere, Cowart ultimately situates the ballet and related genres as the missing link between an imagery of propaganda and an imagery of political protest.

Catalogue of exhibition held 1977-8 in St. Louis, Detroit and Washington. Color frontispiece, acknowledgments, introduction by Cowart, scholarly articles by Flam, Fourcade and Neff. 24 color plates. Black and white illustrations throughout. Listing of previous exhibitions of Matisse cut-outs, index and photo credits. 304 pages. stiff paper wrappers. 4to..

Book by Siegfried Gohr, St. Louis Art Museum, Jack Cowart

Book by Cowart, Jack, Elderfield, John, Schneider, Pierre

Thomas Pynchon helped pioneer the postmodern aesthetic. His formidable body of work challenges readers to think and perceive in ways that anticipate―with humor, insight, and cogency―much that has emerged in the field of literary theory over the past few decades. For David Cowart, Pynchon’s most profound teachings are about history―history as myth, as rhetorical construct, as false consciousness, as prologue, as mirror, and as seedbed of national and literary identities.In one encyclopedic novel after another, Pynchon has reconceptualized historical periods that he sees as culturally definitive. Examining Pynchon’s entire body of work, Cowart offers an engaging, metahistorical reading of V.; an exhaustive analysis of the influence of German culture in Pynchon’s early work, with particular emphasis on Gravity’s Rainbow; and a critical spectroscopy of those dark stars, Mason & Dixon and Against the Day. He defends the California fictions The Crying of Lot 49, Vineland, and Inherent Vice as roman fleuve chronicling the decade in which the American tapestry began to unravel. Cowart ends his study by considering Pynchon’s place in literary history.Cowart argues that Pynchon has always understood the facticity of historical narrative and the historicity of storytelling―not to mention the relations of both story and history to myth. Thomas Pynchon and the Dark Passages of History offers a deft analysis of the problems of history as engaged by our greatest living novelist and argues for the continuity of Pynchon’s historical vision.