02123nam 2200469 450 991079619300332120200122134638.02-8062-5428-0(CKB)3790000000017583(EBL)2052029(OCoLC)910446411(Au-PeEL)EBL2052029(MiAaPQ)EBC2052029(PPN)233408975(EXLCZ)99379000000001758320200122d2014 uy 0freur|n|---|||||txtrdacontentcrdamediacrrdacarrierLa bataille d'Alésia quand la défaite de Vercingétorix met fin à la révolte des Gaulois /par Nicolas Cartelet ; aver la collaboration de Barbara AugerNamur :50Minutes,[2014]©20141 online resource (37 p.)Grandes batailles ;Numéro 17Description based upon print version of record.2-8062-5608-9 Découvrez enfin tout ce qu'il faut savoir sur la bataille d'Alésia en moins d'une heure !Durant l'été 52 av. J.-C., Alésia est le théâtre d'âpres combats opposant Jules César à Vercingétorix. Suivis par plus de 80 000 hommes, Vercingétorix est convaincu qu'en sortant vainqueur, les tribus gauloises pourront conserver leur autonomie. Mais l'histoire en a décidé autrement. Tout en nous plongeant au cœur de ce conflit majeur de l'Antiquité, ce livre n'omet aucun détail. Vous y trouverez : des explications sur l'incursion de Jules César en Gaule et le soulèvement de Vercingétorix, le profil des aCollection Campagnes & stratégies.Grandes batailles ;Numéro 17.Alesia, Battle of, France, 52 B.CAlesia, Battle of, France, 52 B.C.936.401Cartelet Nicolas1465843Auger BarbaraMiAaPQMiAaPQMiAaPQBOOK9910796193003321La bataille d'Alésia3776102UNINA03223nam 2200541 450 991082018700332120240131190837.01-4438-5265-1(CKB)2550000001128050(StDuBDS)AH25702745(SSID)ssj0001130223(PQKBManifestationID)11630893(PQKBTitleCode)TC0001130223(PQKBWorkID)11104948(PQKB)10066411(MiAaPQ)EBC1477516(Au-PeEL)EBL1477516(CaPaEBR)ebr10778095(CaONFJC)MIL528684(OCoLC)859834125(OCoLC)1230506287(FINmELB)ELB147987(EXLCZ)99255000000112805020131107d2013 uy| 0engur|||||||||||txtccrColour in sculpture a survey from ancient Mesopotamia to the present /by Hannelore HägeleNewcastle upon Tyne, UK :Cambridge Scholars Publishing,2013.1 online resource (xvii, 329 pages )illustrations (black and white, and colour)Bibliographic Level Mode of Issuance: Monograph1-4438-5027-6 1-299-97433-3 Includes bibliographical references and index.This text introduces the reader to the art of sculpture across five millennia up to the present, and from the Near East to the West. In each of the eleven chapters, a number of selected works are discussed to exemplify the circumstances and conditions for making pieces of sculpture objects peculiar to place, time, and context.This book introduces the reader to the art of sculpture across five millennia up to the present, and from the Near East to the west. In each of the eleven chapters, a number of selected works are discussed to exemplify the circumstances and conditions for making pieces of sculpture objects peculiar to place, time and context. Within each cultural framework, characteristics are observable that suggest various reasons for the use of colour in sculpture. These encompass local preferences, customs or cultural requirements; and others point to an impulse to enhance the expression of the phenomenal. Whether colour is really necessary or even essential to sculpted works of art is a question especially pertinent since the Renaissance. Surface finishes of sculptural representations may allude to the sensory world of colour without even having pigment applied to them. What makes polychromy so special is that it functions as an overlay of another dimension that sometimes carries further encoded meaning. In nature, the colour is integral to the given object. What the present survey suggests is that the relationship between colour and sculpture is a matter of intentional expression, even where the colour is intrinsic as in the sculptoras materials. -PolychromyPolychromy.347Hägele Hannelore1638036MiAaPQMiAaPQMiAaPQBOOK9910820187003321Colour in sculpture3996152UNINA