Paul Strand: An American Vision - 8 Angebote vergleichen

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Von Händler/Antiquariat, Argosy Book Store.
New York: Aperture, 1990. First. hardcover. fine/near fine. Strand, Paul. Illustrated with many finely printed full-page photographs. 171pp. Large square 4to, black cloth, d.w. New York: Aperture Foundation & National Gallery of Art, Washington, (1990). First Edition. A fine copy in a near fine dust wrapper. The photographer's finest work published on the occasion of a National Gallery of Art retrospective marking the centenary of his birth.

Von Händler/Antiquariat, Antiquariat Arzt - Der Buecherdoktor [1048085], Hofheim, Germany.
4°. OLn. m. OU. 171 S.m. zahlr. Abb. guter Zustand / good copy !!!! Paul Strand (October 16, 1890 – March 31, 1976) was an American photographer and filmmaker who, along with fellow modernist photographers like Alfred Stieglitz and Edward Weston, helped establish photography as an art form in the 20th century. His diverse body of work, spanning six decades, covers numerous genres and subjects throughout the Americas, Europe and Africa. Paul Strand was born in New York City to Bohemian parents. In his late teens Strand was a student of renowned documentary photographer Lewis Hine at the Ethical Culture Fieldston School. It was while on a fieldtrip in this class that Strand first visited the 291 art gallery – operated by Stieglitz and Edward Steichen – where exhibitions of work by forward-thinking modernist photographers and painters would move Strand to take his photographic hobby more seriously. Stieglitz would later promote Strand's work in the 291 gallery itself, in his photography publication Camera Work, and in his artwork in the Hieninglatzing studio. Some of this early work, like the well-known Wall Street, experimented with formal abstractions (influencing, among others, Edward Hopper and his idiosyncratic urban vision).[1] Other of Strand's works reflect his interest in using the camera as a tool for social reform. He was one of the founders of the Photo League, an association of photographers who advocated using their art to promote social and political causes. Film-making Over the next few decades, Strand worked in motion pictures as well as still photography. His first film was Manhatta (1921), also known as New York the Magnificent, a silent film showing the day-to-day life of New York City made with painter/photographer Charles Sheeler. Manhatta includes a shot similar to Strand's famous Wall Street (1915) photograph. In 1932–5, he lived in Mexico and worked on Redes (1936), a film commissioned by the Mexican government, released in the US as The Wave. Other films he was involved with. Englisch 2000g.

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leinen ISBN: 0893814423. 4 . OLn. m. OU. 171 S.m. zahlr. Abb. guter Zustand / good copy !!!! Paul Strand (October 16, 1890 March 31, 1976) was an American photographer and filmmaker who, along with fellow modernist photographers like Alfred Stieglitz and Edward Weston, helped establish photography as an art form in the 20th century. His diverse body of work, spanning six decades, covers numerous genres and subjects throughout the Americas, Europe and Africa. Paul Strand was born in New York City to Bohemian parents. In his late teens Strand was a student of renowned documentary photographer Lewis Hine at the Ethical Culture Fieldston School. It was while on a fieldtrip in this class that Strand first visited the 291 art gallery operated by Stieglitz and Edward Steichen where exhibitions of work by forward-thinking modernist photographers and painters would move Strand to take his photographic hobby more seriously. Stieglitz would later promote Strand's work in the 291 gallery itself, in his photography publication Camera Work, and in his artwork in the Hieninglatzing studio. Some of this early work, like the well-known "Wall Street," experimented with formal abstractions (influencing, among others, Edward Hopper and his idiosyncratic urban vision).[1] Other of Strand's works reflect his interest in using the camera as a tool for social reform. He was one of the founders of the Photo League, an association of photographers who advocated using their art to promote social and political causes. Film-making Over the next few decades, Strand worked in motion pictures as well as still photography. His first film was Manhatta (1921), also known as New York the Magnificent, a silent film showing the day-to-day life of New York City made with painter/photographer Charles Sheeler. Manhatta includes a shot similar to Strand's famous Wall Street (1915) photograph. In 1932 5, he lived in Mexico and worked on Redes (1936), a film commissioned by the Mexican government, released in the US as The Wave. Other films he was involved with were the documentary The Plow That Broke the Plains (1936) and the pro-union, anti-fascist Native Land (1942). France In June 1949, Strand left the United States to present Native Land at the Karlovy Vary International Film Festival in Czechoslovakia. The remaining 27 years of his life were spent in Orgeval, France where, despite never learning the language, he maintained an impressive creative life, assisted by his third wife, fellow photographer Hazel Kingsbury Strand. Although Strand is best known for his early abstractions, his return to still photography in this later period produced some of his most significant work in the form of six book portraits of place: Time in New England (1950), La France de Profil (1952), Un Paese (featuring photographs of Luzzara and the Po River Valley in Italy, 1955), Tir a'Mhurain / Outer Hebrides[2] (1962), Living Egypt (1969) and Ghana: an African portrait (1976). Family Strand married the painter Rebecca Salsbury in 1922. He photographed Rebecca Salsbury Strand frequently, sometimes with uncommonly close compositions. After divorcing Salsbury, Strand married Virginia Stevens in 1935. They divorced in 1949; he then married Hazel Kingsbury in 1951 and they remained married until his death in 1976. Politics The timing of Strand s departure to France is coincident with the first libel trial of his friend Alger Hiss, with whom he maintained a correspondence until his death. Although he was never officially a member of the Communist Party, many of Strand s collaborators were either Party members (James Aldridge; Cesare Zavattini) or were prominent socialist writers and activists (Basil Davidson). Many of his friends were also Communists or were suspected of being so (MP DN Pritt; film director Joseph Losey; Scottish poet Hugh MacDiarmid; actor Alex McCrindle). Strand was also closely involved with Frontier Films, one of more than twenty organizations that were branded as subversive and un-American by the US Attorney General. Strand also insisted that his books should be printed in Leipzig, East Germany, even if this meant that they were initially prohibited from the American market on account of their Communist provenance. De-classified intelligence files, obtained under the Freedom of Information Act and now lodged at the Center for Creative Photography at the University of Arizona, reveal that Strand s movements around Europe were closely monitored by the security services.(wikipedia) [biographie portrait bildband usa amerika america fotos photography photographie Fotos cloth].

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Antiquariat Arzt - Der Buecherdoktor, [3045667].
leinen4. OLn. m. OU. 171 S.m. zahlr. Abb. guter Zustand / good copy !!!! Paul Strand (October 16, 1890 March 31, 1976) was an American photographer and filmmaker who, along with fellow modernist photographers like Alfred Stieglitz and Edward Weston, helped establish photography as an art form in the 20th century. His diverse body of work, spanning six decades, covers numerous genres and subjects throughout the Americas, Europe and Africa. Paul Strand was born in New York City to Bohemian parents. In his late teens Strand was a student of renowned documentary photographer Lewis Hine at the Ethical Culture Fieldston School. It was while on a fieldtrip in this class that Strand first visited the 291 art gallery operated by Stieglitz and Edward Steichen where exhibitions of work by forward-thinking modernist photographers and painters would move Strand to take his photographic hobby more seriously. Stieglitz would later promote Strand's work in the 291 gallery itself, in his photography publication Camera Work, and in his artwork in the Hieninglatzing studio. Some of this early work, like the well-known "Wall Street," experimented with formal abstractions (influencing, among others, Edward Hopper and his idiosyncratic urban vision).[1] Other of Strand's works reflect his interest in using the camera as a tool for social reform. He was one of the founders of the Photo League, an association of photographers who advocated using their art to promote social and political causes. Film-making Over the next few decades, Strand worked in motion pictures as well as still photography. His first film was Manhatta (1921), also known as New York the Magnificent, a silent film showing the day-to-day life of New York City made with painter/photographer Charles Sheeler. Manhatta includes a shot similar to Strand's famous Wall Street (1915) photograph. In 19325, he lived in Mexico and worked on Redes (1936), a film commissioned by the Mexican government, released in the US as The Wave. Other films he was involved with were the documentary The Plow That Broke the Plains (1936) and the pro-union, anti-fascist Native Land (1942). France In June 1949, Strand left the United States to present Native Land at the Karlovy Vary International Film Festival in Czechoslovakia. The remaining 27 years of his life were spent in Orgeval, France where, despite never learning the language, he maintained an impressive creative life, assisted by his third wife, fellow photographer Hazel Kingsbury Strand. Although Strand is best known for his early abstractions, his return to still photography in this later period produced some of his most significant work in the form of six book portraits of place: Time in New England (1950), La France de Profil (1952), Un Paese (featuring photographs of Luzzara and the Po River Valley in Italy, 1955), Tir a'Mhurain / Outer Hebrides[2] (1962), Living Egypt (1969) and Ghana: an African portrait (1976). Family Strand married the painter Rebecca Salsbury in 1922. He photographed Rebecca Salsbury Strand frequently, sometimes with uncommonly close compositions. After divorcing Salsbury, Strand married Virginia Stevens in 1935. They divorced in 1949 he then married Hazel Kingsbury in 1951 and they remained married until his death in 1976. Politics The timing of Strands departure to France is coincident with the first libel trial of his friend Alger Hiss, with whom he maintained a correspondence until his death. Although he was never officially a member of the Communist Party, many of Strands collaborators were either Party members (James Aldridge Cesare Zavattini) or were prominent socialist writers and activists (Basil Davidson). Many of his friends were also Communists or were suspected of being so (MP DN Pritt film director Joseph Losey Scottish poet Hugh MacDiarmid actor Alex McCrindle). Strand was also closely involved with Frontier Films, one of more than twenty organizations that were branded as subversive and un-American by the US Attorney General. Strand also insisted that his books should be printed in Leipzig, East Germany, even if this meant that they were initially prohibited from the American market on account of their Communist provenance. De-classified intelligence files, obtained under the Freedom of Information Act and now lodged at the Center for Creative Photography at the University of Arizona, reveal that Strands movements around Europe were closely monitored by the security services.(wikipedia).

Lieferung aus: Deutschland, zzgl. Versandkosten.
Von Händler/Antiquariat, Fundus-Online GbR Borkert, Schwarz, Zerfass, 10785 Berlin.
171 S. Originalleinen mit Schutzumschlag. Umschlag leicht berieben, sonst gutes Exemplar. - Published on the occasion of a major retrospective exhibition organized by the National Gallery of Art, Washington, this remarkable volume reproduces photographs by Paul Strand gathered from public and private collections throughout the world. It is the official catalogue for the exhibition marking the 1 OOth anniversary of the artist's birth. Exploring the full range of Strand's work from 191 1 to his death in 1976, many of the images included here have never before been published. The introduction by Sarah Greenough examines Strand's growth as artist, photographer, and filmmaker, and the theoretical, social, and personal forces that combined to influence his art. During Paul Strand's early years as a photographer, he was closely associated with John Marin, Gaston Lachaise, Georgia O'Keeffe, Marsden Hartley, Charles Sheeler, and Alfred Stieglitz, who was the first to show his work at the gallery 291 in 1916. These earliest images of the people and streets of New York, as well as abstractions, were among the most innovative work made in America at the time. Throughout his career, Strand was committed to the belief that art must be based in real, everyday life and that the artist must continually experiment to construct new forms to make this reality known. In the 1920s his experiments led him to make close-up studies of machines, natural forms (driftwood, trees, and plants) and his wife Rebecca in an attempt to reveal the spirit that informed matter. When he went first to New Mexico in 1930 and later to Mexico in 1933, he began to use his camera to extract those elements that in sum constituted a sense of place. Working with Nancy Newhall in the 1940s on the publication Time in New England, Strand expanded this idea, revealing his belief that man molded his architecture, his tools, and even his natural environment so that, through time, they became a reflection of a collective personality. In the 1950s Strand moved to France and embarked on a series of books on France, Italy, the Hebrides, Egypt, and Ghana that celebrated the qualities of endurance and renewal of the peoples of these countries. In his life as an explorer and experimenter, Strand discovered and revealed what he called "the complex whole of interdependences" that physically and psychologically bound individuals to each other, to their past, and to nature. ISBN 0893814423 Versand D: 5,50 EUR, Angelegt am: 27.11.2018.

Lieferung aus: Deutschland, zzgl. Versandkosten.
Von Händler/Antiquariat, Fundus-Online GbR Borkert, Schwarz, Zerfass, 10785 Berlin.
171 S. Originalleinen mit Schutzumschlag. Umschlag leicht berieben, sonst gutes Exemplar. - Published on the occasion of a major retrospective exhibition organized by the National Gallery of Art, Washington, this remarkable volume reproduces photographs by Paul Strand gathered from public and private collections throughout the world. It is the official catalogue for the exhibition marking the 1 OOth anniversary of the artist's birth. Exploring the full range of Strand's work from 191 1 to his death in 1976, many of the images included here have never before been published. The introduction by Sarah Greenough examines Strand's growth as artist, photographer, and filmmaker, and the theoretical, social, and personal forces that combined to influence his art. During Paul Strand's early years as a photographer, he was closely associated with John Marin, Gaston Lachaise, Georgia O'Keeffe, Marsden Hartley, Charles Sheeler, and Alfred Stieglitz, who was the first to show his work at the gallery 291 in 1916. These earliest images of the people and streets of New York, as well as abstractions, were among the most innovative work made in America at the time. Throughout his career, Strand was committed to the belief that art must be based in real, everyday life and that the artist must continually experiment to construct new forms to make this reality known. In the 1920s his experiments led him to make close-up studies of machines, natural forms (driftwood, trees, and plants) and his wife Rebecca in an attempt to reveal the spirit that informed matter. When he went first to New Mexico in 1930 and later to Mexico in 1933, he began to use his camera to extract those elements that in sum constituted a sense of place. Working with Nancy Newhall in the 1940s on the publication Time in New England, Strand expanded this idea, revealing his belief that man molded his architecture, his tools, and even his natural environment so that, through time, they became a reflection of a collective personality. In the 1950s Strand moved to France and embarked on a series of books on France, Italy, the Hebrides, Egypt, and Ghana that celebrated the qualities of endurance and renewal of the peoples of these countries. In his life as an explorer and experimenter, Strand discovered and revealed what he called "the complex whole of interdependences" that physically and psychologically bound individuals to each other, to their past, and to nature. ISBN 0893814423 Versandkostenfreie Lieferung, Angelegt am: 27.11.2018.

Lieferung aus: Deutschland, Versandkosten nach: Schweiz.
Von Händler/Antiquariat, Fundus-Online GbR Borkert/ Schwarz/ Zerfass, [3280044].
171 S. Originalleinen mit Schutzumschlag. Umschlag leicht berieben, sonst gutes Exemplar. - Published on the occasion of a major retrospective exhibition organized by the National Gallery of Art, Washington, this remarkable volume reproduces photographs by Paul Strand gathered from public and private collections throughout the world. It is the official catalogue for the exhibition marking the 1 OOth anniversary of the artist's birth. Exploring the full range of Strand's work from 191 1 to his death in 1976, many of the images included here have never before been published. The introduction by Sarah Greenough examines Strand's growth as artist, photographer, and filmmaker, and the theoretical, social, and personal forces that combined to influence his art. During Paul Strand's early years as a photographer, he was closely associated with John Marin, Gaston Lachaise, Georgia O'Keeffe, Marsden Hartley, Charles Sheeler, and Alfred Stieglitz, who was the first to show his work at the gallery 291 in 1916. These earliest images of the people and streets of New York, as well as abstractions, were among the most innovative work made in America at the time. Throughout his career, Strand was committed to the belief that art must be based in real, everyday life and that the artist must continually experiment to construct new forms to make this reality known. In the 1920s his experiments led him to make close-up studies of machines, natural forms (driftwood, trees, and plants) and his wife Rebecca in an attempt to reveal the spirit that informed matter. When he went first to New Mexico in 1930 and later to Mexico in 1933, he began to use his camera to extract those elements that in sum constituted a sense of place. Working with Nancy Newhall in the 1940s on the publication Time in New England, Strand expanded this idea, revealing his belief that man molded his architecture, his tools, and even his natural environment so that, through time, they became a reflection of a collective personality. In the 1950s Strand moved to France and embarked on a series of books on France, Italy, the Hebrides, Egypt, and Ghana that celebrated the qualities of endurance and renewal of the peoples of these countries. In his life as an explorer and experimenter, Strand discovered and revealed what he called "the complex whole of interdependences" that physically and psychologically bound individuals to each other, to their past, and to nature. ISBN 0893814423, 1990. gebraucht gut, 1550g, Internationaler Versand, PayPal, Offene Rechnung, Banküberweisung.

Von Händler/Antiquariat, Booklegger's Fine Books ABAA [80861], Park Ridge, IL, U.S.A.
A fine, crisp and clean hardcover copy in a fine jacket/brodart covered. First Edition. A very nice copy in like new condition. No bumped corners to book. No tears, no chips to jacket. No signatures. Books.