eBooks de Colecciones de arte, página 3 de 63

Durante 1953 y 1954 la Universidad de Salamanca llevó a cabo distintas celebraciones para la conmemoración de sus setecientos años de existencia, tomando como referencia el día 8 de mayo de 1254, fecha en que el rey Alfonso X el Sabio promulgaba una real cedula de reorganizacion juridica del Estudio, si bien la fundacion de la Universidad de Salamanca se situa con exactitud en 1218. Con ello, las autoridades politicas y universitarias del regimen franquista elegian el momento adecuado para acometer una vasta operacion de legitimacion academica exterior del Estado nacional, al mismo tiempo que comenzaban a abrirsele los foros internacionales de la posguerra. El regimen necesitaba de imagenes con las que mostrarse al exterior, y nada mejor para ello que una celebracion universitaria a la que vinieron rectores y representantes de 123 universidades y 44 paises. La mirada fotografica de Guzman Gombau sobre este VII Centenario diferido de la Universidad de Salamanca ofrece un testimonio medido y extraordinario de aquella historia, instantaneas que ahora recopila este libro.

Durante 1953 y 1954 la Universidad de Salamanca llevó a cabo distintas celebraciones para la conmemoración de sus setecientos años de existencia, tomando como referencia el día 8 de mayo de 1254, fecha en que el rey Alfonso X el Sabio promulgaba una real cedula de reorganizacion juridica del Estudio, si bien la fundacion de la Universidad de Salamanca se situa con exactitud en 1218. Con ello, las autoridades politicas y universitarias del regimen franquista elegian el momento adecuado para acometer una vasta operacion de legitimacion academica exterior del Estado nacional, al mismo tiempo que comenzaban a abrirsele los foros internacionales de la posguerra. El regimen necesitaba de imagenes con las que mostrarse al exterior, y nada mejor para ello que una celebracion universitaria a la que vinieron rectores y representantes de 123 universidades y 44 paises. La mirada fotografica de Guzman Gombau sobre este VII Centenario diferido de la Universidad de Salamanca ofrece un testimonio medido y extraordinario de aquella historia, instantaneas que ahora recopila este libro.

Colección de grabados el siglo XIX.Lectores tienes en tus manos grabados de lugares de Francia, Suiza y Bélgica, realizados por autores que Montaner y Simón editaron en 1882 y que ahora Liber Factory

Esta edición digital en formato ePub se ha realizado a partir de una edición impresa digitalizada que forma parte de los fondos de la Biblioteca Nacional de España.El proyecto de creación de ePubs a partir de obras digitalizadas de la BNE pretende enriquecer la oferta de servicios de la Biblioteca Digital Hispanica y se enmarca en el proyecto BNElab, que nace con el objetivo de impulsar el uso de los recursos digitales de la Biblioteca Nacional de España.En el proceso de digitalizacion de documentos, los impresos son en primer lugar digitalizados en forma de imagen. Posteriormente, el texto es extraido de manera automatizada gracias a la tecnologia de reconocimiento optico de caracteres (OCR).El texto asi obtenido ha sido aqui revisado, corregido y convertido a ePub (libro electronico o publicacion electronica), formato abierto y estandar de libros digitales. Se intenta respetar en la mayor medida posible el texto original (por ejemplo en cuanto a ortografia), pero pueden realizarse modificaciones con vistas a una mejor legibilidad y adaptacion al nuevo formato.Si encuentra errores o anomalias, estaremos muy agradecidos si nos lo hacen saber a traves del correo bnelab@bne.es.Las obras aqui convertidas a ePub se encuentran en dominio publico, y la utilizacion de estos textos es libre y gratuita.

Esta edición digital en formato ePub se ha realizado a partir de una edición impresa digitalizada que forma parte de los fondos de la Biblioteca Nacional de España.El proyecto de creación de ePubs a partir de obras digitalizadas de la BNE pretende enriquecer la oferta de servicios de la Biblioteca Digital Hispanica y se enmarca en el proyecto BNElab, que nace con el objetivo de impulsar el uso de los recursos digitales de la Biblioteca Nacional de España.En el proceso de digitalizacion de documentos, los impresos son en primer lugar digitalizados en forma de imagen. Posteriormente, el texto es extraido de manera automatizada gracias a la tecnologia de reconocimiento optico de caracteres (OCR).El texto asi obtenido ha sido aqui revisado, corregido y convertido a ePub (libro electronico o publicacion electronica), formato abierto y estandar de libros digitales. Se intenta respetar en la mayor medida posible el texto original (por ejemplo en cuanto a ortografia), pero pueden realizarse modificaciones con vistas a una mejor legibilidad y adaptacion al nuevo formato.Si encuentra errores o anomalias, estaremos muy agradecidos si nos lo hacen saber a traves del correo bnelab@bne.es.Las obras aqui convertidas a ePub se encuentran en dominio publico, y la utilizacion de estos textos es libre y gratuita.

De poco sirve estudiar el pasado si no nos ayuda a conocer el presente. En el caso de España, país de pueblos y nacionalidades diversas, de variadas culturas y lenguas, una mirada sobre su historia facilita la comprension de su compleja realidad actual. El objetivo fundamental de este libro es explicar por que España es como es. Los diferentes aspectos de la cultura española economia, politica, arte, pensamiento, literatura, etc. se exponen integrados en un conjunto organico de partes interdependientes, no como compartimentos estancos, por ser esto ajeno a la realidad. A fin de facilitar la lectura y la comprension, se han evitado, en la medida de lo posible, tecnicismos, complicaciones sintacticas, parrafos extensos, referencias a otras publicaciones, excesivas citas y farragosas listas de nombres. Se han incluido numerosos textos de autores de ideologias y posturas contrapuestas, a fin de ilustrar las explicaciones teoricas y de que el lector obtenga por si mismo sus conclusiones. ...Sebastian Quesada Marco es licenciado en Historia por la Universidad Complutense de Madrid. Desde 1965 ha trabajado al servicio de la promocion y extension de la lengua y cultura española en el extranjero, primero en calidad de Director de Centros Culturales Españoles dependientes de la Direccion General de Relaciones Culturales y Cientificas del Ministerio de Asuntos Exteriores y, posteriormente, como Director de Institutos Cervantes.Ha dirigido el Instituto Hispano-Arabe de Cultura de Bagdad y los Institutos Cervantes de Tanger, Lisboa, Milan, Burdeos y Atenas. Ha sido Coordinador de Institutos Cervantes en Europa y, en estas funciones, encargado de la direccion de los Institutos Cervantes de El Cairo, Viena, Milan y Bucarest. Preparacion en los Institutos Cervantes de los centros culturales de El Cairo, Tanger, Tetuan, Lisboa, Viena, Milan, Burdeos y Bucarest.Ha sido miembro del Consejo Asesor DELE (Diplomas de Español como Lengua Extranjera) del Ministerio de Educacion y Ciencia, presidente de numerosos tribunales DELE en diversos paises (EE. UU., Brasil, Dinamarca, Francia, Italia, Grecia, Portugal, Marruecos, Bulgaria, Egipto, Rumania, Austria).___VISITA NUESTRA PAGINA WEB WWW.PAROLASLANGUAGES.COM

"Descubre El Arte de la Concentración, un guía esencial para maximizar tu enfoque y lograr el éxito académico. Explora estrategias efectivas, crea un entorno propicio para el estudio y aprende a superar distracciones comunes. Con tecnicas de meditacion y mindfulness, este libro ofrece 100 consejos practicos para mejorar la concentracion en temas especificos. Desarrolla una mentalidad de crecimiento para un aprendizaje a largo plazo. Una herramienta completa para liberar tu potencial de estudio y promover un crecimiento intelectual sostenible."

Durante 1953 y 1954 la Universidad de Salamanca llevó a cabo distintas celebraciones para la conmemoración de sus setecientos años de existencia, tomando como referencia el día 8 de mayo de 1254, fecha en que el rey Alfonso X el Sabio promulgaba una real cedula de reorganizacion juridica del Estudio, si bien la fundacion de la Universidad de Salamanca se situa con exactitud en 1218. Con ello, las autoridades politicas y universitarias del regimen franquista elegian el momento adecuado para acometer una vasta operacion de legitimacion academica exterior del Estado nacional, al mismo tiempo que comenzaban a abrirsele los foros internacionales de la posguerra. El regimen necesitaba de imagenes con las que mostrarse al exterior, y nada mejor para ello que una celebracion universitaria a la que vinieron rectores y representantes de 123 universidades y 44 paises. La mirada fotografica de Guzman Gombau sobre este VII Centenario diferido de la Universidad de Salamanca ofrece un testimonio medido y extraordinario de aquella historia, instantaneas que ahora recopila este libro.

This book is the first major study of Edita Schuberts art published outside Croatia. Edita Schuberts body of work is strikingly diverse, spanning pioneering explorations of natural ecology in the 1970s to bold paintings in the spirit of the transavantgarde in the 1980s. She also created performance art on the streets of Dubrovnik and created installations that invited viewers into her world. Her later worksself-portraits of various kindsoffer profound meditations on memory, identity, and mortal- ity. Working in her studio in the Institute of Anatomy in Zagreb, she once compared her art with the practice of dissection, a precise and purposeful science which reveals the hidden territories of the human body. Often her subject was herself. The breadth of her artistic output seems to anticipate the "post-medium" condition of contemporary art. Yet when viewed together, strong lines of connection and continuity emerge, revealing a deeply intimate and single-minded vision of art.Edita Schubert (19472001) was an exceptionally prolific and inventive artist, active from the early 1970s until her untimely death at the age of 54 in 2001. A significant figure in Croatian and Yugoslav art, she exhibited at the Venice Biennale and the Biennale of Sydney and in galleries in Austria and the US, as well as frequently throughout Yugoslavia. Yet today, her art remains relatively little known.

This book is the first major study of Edita Schuberts art published outside Croatia. Edita Schuberts body of work is strikingly diverse, spanning pioneering explorations of natural ecology in the 1970s to bold paintings in the spirit of the transavantgarde in the 1980s. She also created performance art on the streets of Dubrovnik and created installations that invited viewers into her world. Her later worksself-portraits of various kindsoffer profound meditations on memory, identity, and mortal- ity. Working in her studio in the Institute of Anatomy in Zagreb, she once compared her art with the practice of dissection, a precise and purposeful science which reveals the hidden territories of the human body. Often her subject was herself. The breadth of her artistic output seems to anticipate the "post-medium" condition of contemporary art. Yet when viewed together, strong lines of connection and continuity emerge, revealing a deeply intimate and single-minded vision of art.Edita Schubert (19472001) was an exceptionally prolific and inventive artist, active from the early 1970s until her untimely death at the age of 54 in 2001. A significant figure in Croatian and Yugoslav art, she exhibited at the Venice Biennale and the Biennale of Sydney and in galleries in Austria and the US, as well as frequently throughout Yugoslavia. Yet today, her art remains relatively little known.

Conflict does more than destroy physical spaces. It extinguishes lives, erases histories and disrupts the collective memory of entire communities. In Gaza, where genocide has wrought catastrophic loss, the destruction of heritage adds another dimension of devastation. Yet amid the rubble, acts of archiving, art-making and storytelling persist.Archiving Gaza in the Present brings together voices from Palestine and beyond to document the cultural erasure and to explore how creative and archival practices resist it. Contributions from curators, architects, artists, journalists, lawyers and scholars capture Gazas once-vibrant cultural life historic buildings, art centres, universities and museums that existed before October 2023 now turned to rubble.Featuring rich visual material from fragmented WhatsApp testimonies to forensic documentation and including artworks, maps and photographs, Archiving Gaza in the Present is both a living archive and a call to action. It is a vital resource for understanding Gazas cultural survival amid destruction.In partnership with the Arab British Centre.Contributors include Selma Dabbagh, Salman Abu Sitta, Shareef Sarhan, Hazem Harb, Malak Mattar, Marc-Andre Haldimann, Nadia Yaqub, Omar Al-Qattan, Kegham Djeghalian, Caitlin Procter, Atef Alshaer, Shatha Safi, Yara Sharif and Nasser Golzar.

Over the past two decades, Lisa Oppenheim has developed a critically acclaimed practice that is deeply rooted in the field of photography while also constantly exploring its margins. She often focuses on the unexplored potential of the mediums artistic, technological, and sociopolitical histories. Combining material experimentation with archival research, Oppenheim transforms or, in her words, "reprocesses"images and ideas both recent and historical by employing creative mechanisms ranging from a host of photographic processes to other media such as textiles, film and video, and, most recently, sculpture. Published in conjunction with her exhibition Monsieur Steichen at MUDAM Luxembourg, this richly illustrated catalogue surveys Oppenheims works from the past dozen years, and includes new texts by Darsie Alexander, Christophe Gallois, Jacob Proctor, and Bettina Steinbrugge, as well as a conversation between Lisa Oppenheim and artist Liz Deschenes.Lisa Oppenheim (*1975, New York) lives and works in New York City and holds degrees from Brown University, Bard College, and the Rijksakademie van beeldende kunsten. She is represented by Tanya Bonakdar Gallery in New York and Los Angeles and The Approach in London.

Over the past two decades, Lisa Oppenheim has developed a critically acclaimed practice that is deeply rooted in the field of photography while also constantly exploring its margins. She often focuses on the unexplored potential of the mediums artistic, technological, and sociopolitical histories. Combining material experimentation with archival research, Oppenheim transforms or, in her words, "reprocesses"images and ideas both recent and historical by employing creative mechanisms ranging from a host of photographic processes to other media such as textiles, film and video, and, most recently, sculpture. Published in conjunction with her exhibition Monsieur Steichen at MUDAM Luxembourg, this richly illustrated catalogue surveys Oppenheims works from the past dozen years, and includes new texts by Darsie Alexander, Christophe Gallois, Jacob Proctor, and Bettina Steinbrugge, as well as a conversation between Lisa Oppenheim and artist Liz Deschenes.Lisa Oppenheim (*1975, New York) lives and works in New York City and holds degrees from Brown University, Bard College, and the Rijksakademie van beeldende kunsten. She is represented by Tanya Bonakdar Gallery in New York and Los Angeles and The Approach in London.

To mark the 200th anniversary of the Karlsruhe Institute of Technology (KIT), its history is being told through 100 selected objects. Proposals from the entire institute were submitted in response to a "Call for Objects." The curators Klaus Nippert and Andrea Stengel provide historical classifications of the objects with regard to their role in research, teaching, and development. The catalogue shows numerous new images of the objects, photographed by Jonas Zilius and Amadeus Bramsiepe, and mediates between their current appearance and the historical perspectives raised. In the design, Christoph Engel interweaves text and image in a special form that invites you to take a visual stroll.Klaus Nippert studied history and philology, and has a doctorate in early modernism. In 2002, he became head of the University Archive Karlsruhe, since 2009 the KIT Archive. He has published in the fields of archival, historical, and literary studies.

To mark the 200th anniversary of the Karlsruhe Institute of Technology (KIT), its history is being told through 100 selected objects. Proposals from the entire institute were submitted in response to a "Call for Objects." The curators Klaus Nippert and Andrea Stengel provide historical classifications of the objects with regard to their role in research, teaching, and development. The catalogue shows numerous new images of the objects, photographed by Jonas Zilius and Amadeus Bramsiepe, and mediates between their current appearance and the historical perspectives raised. In the design, Christoph Engel interweaves text and image in a special form that invites you to take a visual stroll.Klaus Nippert studied history and philology, and has a doctorate in early modernism. In 2002, he became head of the University Archive Karlsruhe, since 2009 the KIT Archive. He has published in the fields of archival, historical, and literary studies.

This monograph is a comprehensive tribute to the Polish artist Jadwiga Maziarska (1913-2003), featuring essays by renowned art historians and curators, and a selection of archival materials from 1940s1990s. Maziarska was one of the most important voices of the avant-garde in Poland, alongside recently recognized Erna Rosenstein, her closest friend and interlocutor. The title "assembly" speaks to Maziarska as engineer and bricoleur of source materials and methods, producing an abstraction which is uncategorizable within the postwar Krakow Group (Grupa Krakowska II) and beyond. Her artistic processes were rooted in the physicality of assembling as a response to concepts of reproduction and modernity. Active from the 1940s through to the 1990s, Maziarska was informed by science, phenomenology, mass photography, printed reproductions and newspapers clippings, out of which she developed autonomous structures.Jadwiga Maziarska (1913-2003) studied and lived in Krakow. She was a member of the second Krakow Group (Grupa Krakowska II), co-established by Tadeusz Kantor. She was known as an outsider, focused on her daring and progressive experimentation with various media.

This monograph is a comprehensive tribute to the Polish artist Jadwiga Maziarska (1913-2003), featuring essays by renowned art historians and curators, and a selection of archival materials from 1940s1990s. Maziarska was one of the most important voices of the avant-garde in Poland, alongside recently recognized Erna Rosenstein, her closest friend and interlocutor. The title "assembly" speaks to Maziarska as engineer and bricoleur of source materials and methods, producing an abstraction which is uncategorizable within the postwar Krakow Group (Grupa Krakowska II) and beyond. Her artistic processes were rooted in the physicality of assembling as a response to concepts of reproduction and modernity. Active from the 1940s through to the 1990s, Maziarska was informed by science, phenomenology, mass photography, printed reproductions and newspapers clippings, out of which she developed autonomous structures.Jadwiga Maziarska (1913-2003) studied and lived in Krakow. She was a member of the second Krakow Group (Grupa Krakowska II), co-established by Tadeusz Kantor. She was known as an outsider, focused on her daring and progressive experimentation with various media.

Em "Bem-Vindo a São Miguel Arcanjo", Wagner de Souza apresenta uma coletânea de contos que desvendam os mistérios e desventuras de personagens místicos e comuns. Nesta obra de realismo mágico, o leit

Para artistas, professores, terapeutas e para quem procura o autoconhecimento. Exercícios de base moral, contemplação e preparo para a meditação.

As histórias de um poeta é um livro que reúne vários textos do poeta e músico Joaquim Nogueira Dantas (1898 1977), nunca publicados antes e escritos em épocas diferentes, entre os anos de 1918 a 1976. Os textos no seguem uma organizaço cronologica quanto as datas de publicaço ou aos temas apresentados. Tratam de diversos assuntos que tem como cenario a capital cearense e velhos costumes. O merito do livro e do poeta Quincas Dantas, que sempre teve o sonho de publicar um livro e ser reconhecido por sua obra. Ele escreveu mais de 300 modinhas e melodias, tocava violo, piano e era considerado um grande autodidata do Ceara, tendo contato com muitos musicos profissionais da epoca na casa de seu pai no antigo Mata Galinha.