03187nam 2200529 450 991045261150332120200520144314.01-4438-5265-1(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(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. -PolychromyElectronic books.Polychromy.347Hägele Hannelore883054MiAaPQMiAaPQMiAaPQBOOK9910452611503321Colour in sculpture2160877UNINA01810nam 2200409 n 450 99638677800331620200824120552.0(CKB)1000000000613814(EEBO)2248531032(UnM)99861409e(UnM)99861409(EXLCZ)99100000000061381419920414d1652 uy |engurbn||||a|bb|The fame and confession of the fraternity of R: C: Commonly, of the Rosie Cross[electronic resource] With a præface annexed thereto, and a short declaration of their physicall work. By Eugenius PhilalethesLondon Printed by J.M. for Giles Calvert, at the black spread Eagle at the West end of Pauls1652[70], 64 pA translation with original preface, by Thomas Vaughan (i.e. Eugenius Philalethes), of: Fama Fraternitatis, oder, Entdeckung der Brüdershafft des löblichen Ordens des RosenCreutzes, attributed to Johann Valentin Andreä.Printer's name from Wing CD.First leaf is blank.Annotation on Thomason copy: "Aprill. 29".Copy filmed at UMI microfilm Early English Books 1641-1700 reel 2354 cropped at top, affecting page numbers.Reproduction of original in the Folger Shakespeare Library.eebo-0018RosicruciansEarly works to 1800RosicruciansVaughan Thomas1622-1666.1003227Andreä Johann Valentin1586-1654,Cu-RivESCu-RivESCStRLINWaOLNBOOK996386778003316The fame and confession of the fraternity of R: C: Commonly, of the Rosie Cross2316736UNISA