| Record ID | marc_columbia/Columbia-extract-20221130-027.mrc:96282756:1826 |
| Source | marc_columbia |
| Download Link | /show-records/marc_columbia/Columbia-extract-20221130-027.mrc:96282756:1826?format=raw |
LEADER: 01826cam a2200361Ii 4500
001 13244182
005 20180504113656.0
008 161013s2015 ie a 000 0 eng d
035 $a(OCoLC)ocn960643204
040 $aCUY$beng$erda$cCUY$dOCLCF
035 $a(OCoLC)960643204
050 4 $aN7433.4.C92$bN967 2015
049 $aZCUA
100 1 $aCutts, Simon,$d1944-$ebook artist.
245 10 $aNymphaes.
260 $a[Clonmel, Tipperary, Ireland] :$bCoracle,$c2015.
300 $a12 unnumbered pages (some folded) :$bchiefly color illustrations ;$c8 x 19 cm
336 $atext$btxt$2rdacontent
336 $astill image$bsti$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
500 $aArtist's book by Simon Cutts.
500 $a"In order that the Water Lilies might be accommodated in the Musée de l'Orangerie in 1927, the paintings had to be worked in sections. For the purposes of instantaneous tonal perception, Monet painted false seams onto the canvas, thus rendering the exact seams indistinguishable. What was made as an astute gesture on the part of Monet, becomes upon further reflection an irony of the whole theoretical aims of the Impressionist movement: a spectator is made used to seams. Camouflages. Gemma Three, London 1968-1972."--Colophon.
500 $a"An edition of 120 copies"--Colophon.
500 $aCasebound in blue cloth with purple and yellow end papers.
500 $aRare Book copy: No. 27.$5NNC
650 0 $aArtists' books$vSpecimens.
650 7 $aArtists' books.$2fast$0(OCoLC)fst00817660
655 7 $aArtists' books$y2015.$2rbgenr
655 7 $aArtists' books$zIreland$y21st century.$2rbgenr
655 7 $aSpecimens.$2fast$0(OCoLC)fst01423861
710 2 $aCoracle Press,$epublisher.
852 $brbx$gIn Process$zShelved at: 13244182