Kunst und industrielle Revolution. Aus dem Englischen übersetzt von Eva Schumann.
7 Angebote vergleichen

Lieferung aus: Deutschland, Versandkosten in die BRD.
Von Händler/Antiquariat, Schroeder Verlagsbuchhandlung, 97772 Wildflecken.
268 S. : Ill. ; 28 cm Pp. ohne Schutzumschlag Das Buch ist in einem guten - sehr guten Zustand. Über den Autor: "Francis Donald Klingender (* 1907 in Goslar; † 1955 in Manchester) war ein britischer Soziologe und Kunsthistoriker. Klingender galt als Marxist und früher Vertreter der Kunstsoziologie im englischen Sprachraum. Mit Ausbruch des Ersten Weltkriegs wurde sein Vater vorübergehend unter dem Verdacht der Spionage für England interniert und in ein Lager in der Nähe von Berlin verbracht. Francis Klingender besuchte das Goslarer Gymnasium, das er 1925 mit dem Abitur abschloss. Am 28. Mai 1926 zog er nach London. Im Oktober 1928 folgten ihm seine Eltern nach England. Die inzwischen aus der Mode gekommenen Bilder des Vaters ließen sich auch dort kaum verkaufen, so dass allein der Sohn zum Lebensunterhalt beisteuerte. Er arbeitete tagsüber in einer Werbeagentur und besuchte abends die London School of Economics and Political Science, wo er sich auf Soziologie konzentrierte. Nach seinem Hochschulabschluss 1930 nahm er bis 1932 an dem von Sir Hubert Llewellyn Smith (1864–1945) ins Leben gerufene Sozialforschungsprojekt New Survey of London Life and Labour (NSLLL)[2] teil, das den Zweck hatte, Änderungen in den Lebensbedingungen der Arbeiterklasse seit der Pionierarbeit von Charles Booth 40 Jahre zuvor herauszuarbeiten.b Anfang der 1930er Jahre, wenn nicht früher, war Klingender aktives Mitglied der britischen Kommunistischen Partei. Trotzdem waren es gesundheitlichen Gründe, warum er 1939 nicht zum Militärdienst eingezogen wurde; während des Krieges untersuchte er die Auswirkungen der industriellen Revolution auf die bildende Kunst in England. Als Ergebnis veröffentlichte er 1947 Art and the Industrial Revolution (Kunst und die industrielle Revolution)." Zitiert aus Wikipedia Versand D: 2,20 EUR Grossbritannien ; Grossbritannien ; Kunstgeschichte ; Industrialisierung ; Industrialisierung / i. d. Bildenden Kunst ; Jahrhundert, 19. / Bildende Kunst ; Industrielle Revolution / In der Kunst, a Bildende Kunst, Kunstgewerbe.

Lieferung aus: Deutschland, Versandkosten in die BRD.
Von Händler/Antiquariat, Fundus-Online GbR Borkert, Schwarz, Zerfaß, 10785 Berlin.
268 S. : Ill. Originalhalbleinen. Gebraucht, aber gut erhalten. - Art and industrial revolution. - Der Autor zur ersten Auflage -- Francis Donald Klingender (1907-1955) -- I -- Die Revolution in der Technik Die Holz-Krise -- Eisen Maschinen und Fabriken -- Baumwolle -- Kanäle und Straßen -- II -- Unter der Flagge -- der Wissenschaft -- Gedichte auf die Industrie -- Neues Leben in den Provinzen -- Der Volkswohlstand Der Botanische Garten -- III -- Joseph Wright of Derby -- Industrielle Entwürfe -- George Stubbs -- Joseph Wright of Derby -- Philosophen in der Kunst -- Die "Artes mechanicae" -- Wrights spätere Arbeiten -- Per Hilleström und Léonard Defrance IV -- Dokumentarische Illustrationen -- Farbige Illustrationen -- Technische Zeichnungen als Kunstwerke -- Topographie -- V -- Das Erhabene und das Malerische -- Coalbrookdale und das Erhabene -- Industriebilder -- Philippe Jacques de Loutherbourg -- Romantik -- VI -- Das Zeitalter der Verzweiflung -- Dichtkunst und Naturwissenschaft -- Die neue Wirtschaft -- Die Entwicklung des Intellekts -- Das Zeitalter der Verzweiflung -- Maschinenstürmer -- Malthus und die Dichter -- John Martin -- Satanische Fabriken -- VII -- Das Zeitalter der Eisenbahnen -- Die neuen Herrscher -- Kampf -- Goldene Ketten -- Dokumentarische Eisenbahnbilder -- John Cooke Bourne -- Der Kristallpalast -- VIII -- Neue Menschen -- Romane vom Leben der Arbeiterklasse -- "Selbsthilfe" -- Der englische Erdarbeiter -- Godfrey Sykes und James Sharpies -- Geldkassen-Ästhetik -- Ford Madox Brown -- Gustave Doré, James MacNeil Whistler und Jules Verne -- Abbildungen -- Anmerkungen. ISBN 3810800120 Versand D: 5,50 EUR Bildende Kunst, Kunstgewerbe, Industrialisierung.

Von Händler/Antiquariat, Marlis Herterich [8119228], Köln, Germany.
Lizenzausgabe d. Verlag d. Kunst, Dresden, dort 1974 ersch.; Halbleinen m. Rückenschild, lam. Pappen m. Abb. u. Titel auf dem Deckelgrüner kopfschnitt, grüne Vorsatzpapiere, geringfügige Lagerspuren, nahezu neuwertig - jedoch ohne den Pappschuber.

Von Händler/Antiquariat, Antiquariat Beutler [2931270], Bremen, Germany.
4°. 268 Seiten. Mit schwarzweißen Abbildungen. Original-Halbleinen. (Name auf Vorsatz, sonst gutes Exemplar). Lizenzausgabe des Verlags der Kunst, Dresden.

Lieferung aus: Deutschland, Versandkosten nach: Deutschland.
Von Händler/Antiquariat, helphand, [3395412].
Einbandflächen minimal berieben, Oberschnitt leicht geringfügig fleckig, keine Anstreichungen oder Notizen, augenscheinlich so gut wie ungelesen, alles in allem gutes Exemplar. Über den Verfasser: Marxist art historian of British art; employed Kunstsoziologie in his writings. Klingender's father, Louis Henry Weston Klingender (1861-1950), a native of Liverpool, was a painter of animals, a subject which the younger Klingender would return to himself late in life. His mother, also British, was Florence Hoette (Klingender) (d. 1944). In 1902 the family moved to Goslar in the Harz Mountain region of Germany. The younger Klingender was born there in 1907. At the outbreak of World War I, his father was interned on suspicion spying for England at a camp near Berlin. Francis Klingender attended the Goslar Gymnasium, graduating in 1925. His family returned to England shortly thereafter, but his father's old-fashioned pictures were unsellable and the family lived in poverty, supported only by their son. Klingender attended evening classes at the London School of Economics and Political Science, where he specialized in sociology, working in the daytime for an advertising agency. He graduated in 1930, doing field research for the New Survey of London Life and Labour, organized by Sir Hubert Llewellyn Smith (1864-1945). He was a Ratan Tata research student between 1930 and 1932. He received his Ph.D. in 1934, writing his dissertation on the London workforce. In 1935 he published his Condition of Clerical Labour in Britain. Klingender's unpopular views of the the British labor force made getting an academic job difficult. He lectured privately, becoming a member of the Executive Committee of the Artists International Association. John Grierson commissioned him to examine the financial underpinnings of the British film industry. His book Money Behind the Screen, appeared, meeting a controversial reception. Further work on British agriculture led to a Leverhulme research fellowship for 1939-40. Although his political views were troubling to military authorities, Klingender was prevented from acceptance in the military for health reasons. During the war, he researched the effects of the industrial revolution on the fine arts in England. The result, Art and the Industrial Revolution, was published in 1947. The following year his Goya in the Democratic Tradition appeared, another work researched during the war. Klingender came as a lecturer in sociology at the University of Hull, beginning in 1948. In 1951 he married Winifred Margaret Kaye. His work at Hull focused again on British labor issues. However, in 1953 and 1954 two articles appeared in the prestigeous, if maverick, Journal of the Warburg and Coutauld Institute on bird iconography in Franciscan altar pieces and Paleolithic art. Shortly before his death, he completed the manuscript for Animals in Art and Thought, what he hoped would be his magnum opus. Never in robust health and a life-long asthmatic, Klingender collapse and died suddenly in 1955. His manuscript for Animals in Art was edited by the wife of fellow Marxist art historian Frederick Antal (q.v.). Klingender was an early exponent in English-language writing of Kunstsozialogie, a later more widely accepted art-historical method in the translated works of Arnold Hauser (q.v.). In 1968 Arthur Elton revised and edited Klingender's Art and Industrial Revolution softening many of Klingender's hard-line Marxist arguments to make the book more palatable for newer audiences (Kitson). His arguments centered around the notion that a continuous tradition of realism began with prehistoric art and lasted until the age of non-objectivism, which was the sign of ultimate social decline. His book on Goya stated that it examine the artist's art without concern for style, another tenet of strict Marxist view of art history. Quelle:http://www.dictionaryofarthistorians.org/klingenderf.htm, 1976, Halbleinen, leichte Gebrauchsspuren, circa 24 cm x 27,5 cm, 1385g, 268, Internationaler Versand, Banküberweisung.

Lieferung aus: Deutschland, Versandkosten nach: Deutschland.
Von Händler/Antiquariat, helphand, [3395412].
Einbandflächen minimal berieben, Oberschnitt leicht geringfügig fleckig, keine Anstreichungen oder Notizen, augenscheinlich so gut wie ungelesen, alles in allem gutes Exemplar. Über den Verfasser: Marxist art historian of British art employed Kunstsoziologie in his writings. Klingender's father, Louis Henry Weston Klingender (1861-1950), a native of Liverpool, was a painter of animals, a subject which the younger Klingender would return to himself late in life. His mother, also British, was Florence Hoette (Klingender) (d. 1944). In 1902 the family moved to Goslar in the Harz Mountain region of Germany. The younger Klingender was born there in 1907. At the outbreak of World War I, his father was interned on suspicion spying for England at a camp near Berlin. Francis Klingender attended the Goslar Gymnasium, graduating in 1925. His family returned to England shortly thereafter, but his father's old-fashioned pictures were unsellable and the family lived in poverty, supported only by their son. Klingender attended evening classes at the London School of Economics and Political Science, where he specialized in sociology, working in the daytime for an advertising agency. He graduated in 1930, doing field research for the New Survey of London Life and Labour, organized by Sir Hubert Llewellyn Smith (1864-1945). He was a Ratan Tata research student between 1930 and 1932. He received his Ph.D. in 1934, writing his dissertation on the London workforce. In 1935 he published his Condition of Clerical Labour in Britain. Klingender's unpopular views of the the British labor force made getting an academic job difficult. He lectured privately, becoming a member of the Executive Committee of the Artists International Association. John Grierson commissioned him to examine the financial underpinnings of the British film industry. His book Money Behind the Screen, appeared, meeting a controversial reception. Further work on British agriculture led to a Leverhulme research fellowship for 1939-40. Although his political views were troubling to military authorities, Klingender was prevented from acceptance in the military for health reasons. During the war, he researched the effects of the industrial revolution on the fine arts in England. The result, Art and the Industrial Revolution, was published in 1947. The following year his Goya in the Democratic Tradition appeared, another work researched during the war. Klingender came as a lecturer in sociology at the University of Hull, beginning in 1948. In 1951 he married Winifred Margaret Kaye. His work at Hull focused again on British labor issues. However, in 1953 and 1954 two articles appeared in the prestigeous, if maverick, Journal of the Warburg and Coutauld Institute on bird iconography in Franciscan altar pieces and Paleolithic art. Shortly before his death, he completed the manuscript for Animals in Art and Thought, what he hoped would be his magnum opus. Never in robust health and a life-long asthmatic, Klingender collapse and died suddenly in 1955. His manuscript for Animals in Art was edited by the wife of fellow Marxist art historian Frederick Antal (q.v.). Klingender was an early exponent in English-language writing of Kunstsozialogie, a later more widely accepted art-historical method in the translated works of Arnold Hauser (q.v.). In 1968 Arthur Elton revised and edited Klingender's Art and Industrial Revolution softening many of Klingender's hard-line Marxist arguments to make the book more palatable for newer audiences (Kitson). His arguments centered around the notion that a continuous tradition of realism began with prehistoric art and lasted until the age of non-objectivism, which was the sign of ultimate social decline. His book on Goya stated that it examine the artist's art without concern for style, another tenet of strict Marxist view of art history. Quelle:http://www.dictionaryofarthistorians.org/klingenderf.htm, 1976, Halbleinen, leichte Gebrauchsspuren, circa 24 cm x 27,5 cm, 1385g, 268, Internationaler Versand, Banküberweisung.

Von Händler/Antiquariat, Antiquariat Bernhardt [627145], Kassel, Germany.
Zust.: Gutes Exemplar. Mit original Schuber. 268 S. ; zahlr. Abb. Deutsch 1460g.