Mondrian

Parkstone International
6
Free sample

Piet Mondrian (7 de Março de 1872 - 1 de Fevereiro de 1944) foi um pintor Holandês inspirado pelo cubismo de Picasso. A sua arte evoluiu para um estilo geométrico abstracto denominado "Neo-Plasticismo", pintando quase unicamente tabuleiros de xadrez em cores primárias; pintou cerca de 250 tabuleiros. Foi um importante contribuidor para o movimento artístico e grupo de De Stijl.
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4.7
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Additional Information

Publisher
Parkstone International
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Published on
Dec 22, 2011
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Pages
81
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ISBN
9781780425757
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Best For
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Language
Portuguese (Portugal)
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Genres
Art / European
Art / General
Art / History / Modern (late 19th Century to 1945)
Art / Individual Artists / Monographs
Art / Techniques / Painting
Art / Techniques / Printmaking
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Content Protection
This content is DRM protected.
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Eligible for Family Library

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Isael De Carvalho
Este livro é o primeiro "ebook" de Literatura de Cordel: não se trata de uma edição facsímile (reprodução fotográfica de um livro em papel) mas bem de um pequeno livro feito em formato epub e mobi para uma leitura optimizada no seu Tablet ou Smartphone. A "Literatura de cordel" também conhecida no Brasil como "folheto", é um gênero literário popular escrito frequentemente na forma rimada, originado em relatos orais e depois impresso em folhetos. Remonta ao século XVI, quando o Renascimento popularizou a impressão de relatos orais, e mantém-se uma forma literária popular no Brasil. O nome tem origem na forma como tradicionalmente os folhetos eram expostos para venda, pendurados em cordas, cordéis ou barbantes em Portugal. No Nordeste do Brasil o nome foi herdado, mas a tradição do barbante não se perpetuou: o folheto brasileiro pode ou não estar exposto em barbantes. Alguns poemas são ilustrados com xilogravuras, também usadas nas capas. As estrofes mais comuns são as de dez, oito ou seis versos. Os autores, ou cordelistas, recitam esses versos de forma melodiosa e cadenciada, acompanhados de viola, como também fazem leituras ou declamações muito empolgadas e animadas para conquistar os possíveis compradores. Para reunir os expoentes deste gênero literário típico do Brasil, foi fundada em 1988 a Academia Brasileira de Literatura de Cordel, com sede no Rio de Janeiro. Conteúdo: Introdução: poéticas poéticos Lygia Clark: a mãe experimental Hélio Oiticica: o pai heróico Nelson Leirner: o padrinho pop Artur Barrio: o filho adotivo Cildo Meireles: o filho pródigo Tunga: o filho querido aguerrido Ernesto Saboia: o Neto bem sucedido Informações sobre esta publicação: Cordelista: Isael de Carvalho Nascido em 16/05/1962 na localidade de Brejal, interior de Petrópolis, o cordelista Isael de Carvalho por ter nos temas humorísticos o lado mais forte de suas produções é conhecido na feira de São Cristóvão como o Genival Lacerda da literatura de cordel. Hoje Isael de Carvalho é membro efetivo da Academia Brasileira de Literatura de Cordel: ABLC, cadeira numero treze. Conceito & edição: Kristofer Paetau Nascido em 27/03/1972 na localidade de Porvoo, interior de Finlândia, o artista Kristofer Paetau por ter nos temas críticos o lado mais forte de suas produções é conhecido pelo mundo fora por seu tom polemista, partilhando a autoria de muitos projetos com seu amigo Ondrej Brody. Hoje Kristofer Paetau é membro de nenhuma academia e representado por nenhuma galeria, vive e trabalha na Cidade Maravilhosa. Este livro foi publicado por ocasião da exposição "Cordel da Arte Contemporânea Brasileira", de Kristofer Paetau realizada no Rio de Janeiro de 6 de dezembro a 22 de dezembro 2012 no Espaço Municipal Sérgio Porto com a curadoria de Marta Mestre.
Jp. A. Calosse
The eclectic art of which the Carracci family dreamed was realised by Rubens with the ease of genius. However, the problem was much more complicated for a man of the north, who wished to add to it a fusion of the Flemish and Latin spirits, of which the rather pedantic attempts of Romanism had illustrated the difficulties. He achieved it without losing anything of his overflowing personality, his questing imagination, and the enchanting discoveries of the greatest colourist known to painting. Rubens, the greatest master of Baroque painting’s exuberance, took from the Italian Renaissance what could be of use to him, and then built upon it a style of his own. It is distinguished by a wonderful mastery of the human form and an amazing wealth of splendidly lighted colour. He was a man of much intellectual poise and was accustomed to court life, travelling from court to court, with pomp, as a trusted envoy. Rubens was one of those rare mortals who do real honour to humanity. He was handsome, good and generous, and he loved virtue. His laborious life was well ordered. The creator of so many delightful pagan feasts went each morning to mass before proceeding to his studio. He was the most illustrious type of happy and perfectly balanced genius, and combined in his personage passion and science, ardour and reflection. Rubens expressed drama as well as joy, since nothing human was foreign to him, and he could command at will the pathos of colour and expression which he required in his religious masterpieces. It might be said that he was as prolific in the representation of the joy and exuberance of life as Michelangelo was in the representation of passionate emotions.
Jp. A. Calosse
The eclectic art of which the Carracci family dreamed was realised by Rubens with the ease of genius. However, the problem was much more complicated for a man of the north, who wished to add to it a fusion of the Flemish and Latin spirits, of which the rather pedantic attempts of Romanism had illustrated the difficulties. He achieved it without losing anything of his overflowing personality, his questing imagination, and the enchanting discoveries of the greatest colourist known to painting. Rubens, the greatest master of Baroque painting’s exuberance, took from the Italian Renaissance what could be of use to him, and then built upon it a style of his own. It is distinguished by a wonderful mastery of the human form and an amazing wealth of splendidly lighted colour. He was a man of much intellectual poise and was accustomed to court life, travelling from court to court, with pomp, as a trusted envoy. Rubens was one of those rare mortals who do real honour to humanity. He was handsome, good and generous, and he loved virtue. His laborious life was well ordered. The creator of so many delightful pagan feasts went each morning to mass before proceeding to his studio. He was the most illustrious type of happy and perfectly balanced genius, and combined in his personage passion and science, ardour and reflection. Rubens expressed drama as well as joy, since nothing human was foreign to him, and he could command at will the pathos of colour and expression which he required in his religious masterpieces. It might be said that he was as prolific in the representation of the joy and exuberance of life as Michelangelo was in the representation of passionate emotions.
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