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Artwork Glass Nouveau was once initially released by way of Tuttle Publishing in print shape in 1967.
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This publication explores interplay and festival among portray and literature in France, from the overdue 19th century to the early 20th, delivering new readings of works by means of key figures together with Paul Gauguin, Stéphane Mallarmé, Pablo Picasso and André Gide. Combining shut visible and literary research with a broader exam of serious discourse, the quantity uncovers a mutual yet usually contentious trade of rules.
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Additional resources for J. Paul Getty Museum journal
Si n o t i n o c o m u n q u e C . c o m u n a l e si ricostruisce a p a r t i r e da G . D . M a n s i , Diario M e e k , Lucca moderno 1369-1400: Politics and Society in an Early Renaissance City- State, N e w Y o r k , 1978, e per i l C i n q u e c e n t o i l bellissimo s t u d i o d i M . Berengo, Nobili e mercanti nella Lucca del Cinquecento, T o r i n o , 1974. 2. L'estensione del t e r r i t o r i o lucchese nel T r e c e n t o si deduce p r i n c i palmente dagli s t a t u t i del c o m u n e ; cf.
Figure 15. Landscape with a Seated Figure. Jacometto Vene ziano, New York, The Metropolitan Museum of A r t , Robert Lehman Collection, 1975. 31 32 Goldner i n the house of Michele C o n t a r i n i and were t h e n kept to must be cautious i n depending too heavily o n the relation gether under an elaborate leather cover. O n the back o f ship. There exists a c o m m o n concern for illusionism and a the male portrait there is a h i n d attached to a roundel rich and diverse feeling for light and for naturalistic detail (Fig.
N o t . T h e Correr painting has been cut laterally, while the Figure4. St. ). CarPaccio. London, National Gallery. Vici's i n some respects, but w h i c h is closer to existing Re- Bird Hunt shows no aesthetic indications o f having been naissance examples. I w o u l d suggest that the panel was cut reduced at its sides. T h i s is very i m p o r t a n t since the t w o by about eight to ten inches at the b o t t o m and that it panels are virtually the same w i d t h . Furthermore, the originally showed the lily i n a vase w h i c h was set o n a trompe Voeil image o n the back of the Getty panel (Fig.
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