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  • av Charles Rosen
    419,-

    What Rosen's The Classical Style did for music of the Classical period, this highly praised volume does for the Romantic era. An exhilarating exploration of musical language, forms, and styles of the period, it captures the spirit that enlivened a generation of composers and musicians, and so conveys the very sense of Romantic music.

  • av Toni Morrison
    299,-

    What is race and why does it matter? Why does the presence of Others make us so afraid? America's foremost novelist reflects on themes that preoccupy her work and dominate politics: race, fear, borders, mass movement of peoples, desire for belonging. Ta-Nehisi Coates provides a foreword to Toni Morrison's most personal work of nonfiction to date.

  • av Ben Shahn
    345,-

    American painter Ben Shahn sets down his personal views of the relationship of the artist-painter, writer, composer-to his material, his craft, and his society. He talks of the creation of the work of art, the importance of the community, the problem of communication, and the critical theories governing the artist and his audience.

  • av Frank Stella
    369,-

    Here is a rare opportunity to view painting through the discerning eyes of one of the world's foremost abstract painters. Stella uses the crisis of representational art in sixteenth-century Italy to illuminate the crisis of abstraction in our time.

  • av Luciano Berio
    639,-

    Berio shares with us some musical experiences that "invite us to revise or suspend our relation with the past and to rediscover it as part of a future trajectory." His scintillating meditation on music and the ways of experiencing it reflects the composer's profound understanding of the history and contemporary practice of his art.

  • - The Growth of a New Tradition, Fifth Revised and Enlarged Edition
    av Sigfried Giedion
    655,-

    A work on the shaping of our architectural environment.

  • av William Kentridge
    599,-

    Art, William Kentridge says, is its own form of knowledge. It does not simply supplement the real world, and cannot be purely understood in the rational terms of academic disciplines. The studio is where linear thinking is abandoned and the material processes of the eye, the hand, the charcoal and paper become themselves the guides of creativity.

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