Sono stati trovati 58 prodotti corrispondenti alla tua ricerca per porzellan in 4 negozi:

Marguerite Friedlaender's 'Halle' vases for Königliche Porzellan-Manufaktur Berlin were designed under the tutelage of the German brand's director, Günther von Pechmann. Originally created in 1930/31, the white porcelain vase's design is influenced by the aesthetic of the German Werkbund and the Bauhaus movement, as well as a partnership between KPM Berlin and Halle's Kunstgewerbeschule Burg Giebichenstein, forged by Pechmann.

An icon of modern design and one of Königliche Porzellan-Manufaktur Berlin's bestselling designs, the Urbino series presents a timeless elegance. Designed by Trude Petri in 1957 and inspired by the East Asian approach to creating classic porcelain pieces, the 'Urbino' espresso cup marries German design with Italian sensibilities. Crafted from white porcelain, each cup in this set of two presents an open shape, which allows coffee to fully bloom and develop its flavour. Each cup is paired with a saucer.

An icon of modern design and one of Königliche Porzellan-Manufaktur Berlin's bestselling designs, the Urbino series presents a timeless elegance. Designed by Trude Petri in 1957 and inspired by the East Asian approach to creating classic porcelain pieces, the 'Urbino' espresso cup marries German design with Italian sensibilities. Crafted from porcelain, each cup — one red, one yellow/green — in this set presents an open shape, which allows coffee to fully bloom and develop its flavour. Each cup is paired with a saucer.

Strong, muscular and proud, this tiger figurine's impact belies its size. Designed in 1977 by the KPM Workshop, the figurine joins Königliche Porzellan-Manufaktur Berlin's quirky collection of animal models and is made from smooth white porcelain.

Designed to hold flower arrangements, Königliche Porzellan-Manufaktur Berlin's gondola is an eye-catching object defined by a brass foot at its base. Created by Siegmund Schütz, a designer for the German brand who specialised in services and vases, the gondola nods to his previous designs with its use of biscuit porcelain relief medallions, which are reminiscent of Schütz's designs for the 'Arakdia' service.

Designed by British architect Norman Foster and completed in 1999, the Reichstag dome was built to symbolise the reunification of Germany and has since become a Berlin landmark. This base, designed by Königliche Porzellan-Manufaktur Berlin's in-house KPM Workshop team in 1999, has been created to sit underneath the brand's porcelain figure of the iconic building, which is sold separately.

Short in stature, yet massive in its impact, Königliche Porzellan-Manufaktur Berlin's 'Convex' vase offers a sculptural quality alongside its functional purpose. Created from white porcelain, the sweeping vase was designed by Dietrich Löwe — from the German brand's in-house KPM Workshop — and is equally suited to single stems as it is to more elaborate flower arrangements.

Tipologie:Oggetti decorativi; Data di quotazione:10/23/2024

Designed by British architect Norman Foster and completed in 1999, the Reichstag dome was built to symbolise the reunification of Germany and has since become a Berlin landmark. Here, the glass dome is depicted in white porcelain in a piece designed by Königliche Porzellan-Manufaktur Berlin's in-house KPM Workshop team in 1999.

The story of the nude in art in our times, told by a popular art historian with a rare gift for sharing her passions and ideas.\n \n The representation of the nude in art remained for many centuries a victory of fiction over fact. Beautiful, handsome, flawless - its great success was to distance the unclothed body from any uncomfortably explicit taint of sexuality, eroticism or imperfection. In this newly updated study, Frances Borzello contrasts the civilized, sanitized, perfected nude of Kenneth Clark's classic, The Nude: A Study in Ideal Form (1956), with today's depictions: raw, uncomfortable, both disturbing and intriguing. Grittier and more subtle, depicting variously gendered bodies, the new nude asks awkward questions and behaves provocatively. It is a very naked nude, created to deal with the issues and contradictions that surround the body in our time. \n \n Borzello explores the role of the nude in twentieth- and twenty-first-century art, looking at the work of a wide range of international artists creating contemporary nudes. Her fascinating text is complemented by a profusion of well-chosen, unusual and beautifully reproduced illustrations. The story begins with a tale of life, death and resurrection - an investigation into how and why the nude has survived and flourished in an art world that prematurely announced its demise. Subsequent chapters take a thematic approach, focusing in turn on Body art and Performance art, the new perspectives of women artists, the nude in painting, portraiture and sculpture and in its most extreme and graphic expressions that intentionally push the boundaries of both art and our comfort zone. The final chapter illustrates radical developments in art and culture over the last decade, focusing in particular on artworks by women, trans artists and artists of colour. Borzello links these works to their art-historical and political predecessors, demonstrating the continually unending capacity of the nude to disrupt traditional hierarchies and gender categories in life and art.

Designed by Königliche Porzellan-Manufaktur Berlin's in-house KPM Workshop team, this white porcelain toad is uncannily lifelike. Designed in 1994, the figurine presents a realm of possibilities and can be displayed in a number of spaces inside the home.

The story of the nude in art in our times, told by a popular art historian with a rare gift for sharing her passions and ideas.\n \n The representation of the nude in art remained for many centuries a victory of fiction over fact. Beautiful, handsome, flawless - its great success was to distance the unclothed body from any uncomfortably explicit taint of sexuality, eroticism or imperfection. In this newly updated study, Frances Borzello contrasts the civilized, sanitized, perfected nude of Kenneth Clark's classic, The Nude: A Study in Ideal Form (1956), with today's depictions: raw, uncomfortable, both disturbing and intriguing. Grittier and more subtle, depicting variously gendered bodies, the new nude asks awkward questions and behaves provocatively. It is a very naked nude, created to deal with the issues and contradictions that surround the body in our time. \n \n Borzello explores the role of the nude in twentieth- and twenty-first-century art, looking at the work of a wide range of international artists creating contemporary nudes. Her fascinating text is complemented by a profusion of well-chosen, unusual and beautifully reproduced illustrations. The story begins with a tale of life, death and resurrection - an investigation into how and why the nude has survived and flourished in an art world that prematurely announced its demise. Subsequent chapters take a thematic approach, focusing in turn on Body art and Performance art, the new perspectives of women artists, the nude in painting, portraiture and sculpture and in its most extreme and graphic expressions that intentionally push the boundaries of both art and our comfort zone. The final chapter illustrates radical developments in art and culture over the last decade, focusing in particular on artworks by women, trans artists and artists of colour. Borzello links these works to their art-historical and political predecessors, demonstrating the continually unending capacity of the nude to disrupt traditional hierarchies and gender categories in life and art.

Marguerite Friedlaender's 'Halle' vases for Königliche Porzellan-Manufaktur (KPM) were designed under the tutelage of the German brand's director, Günther von Pechmann. Originally created in 1930/31, the white porcelain vase's design is influenced by the aesthetic of the German Werkbund and the Bauhaus movement, as well as a partnership between KPM Berlin and Halle's Kunstgewerbeschule Burg Giebichenstein, forged by Pechmann.