Історія Костюма від Древности до Нового часу-В. Брун; Costume History RUSSIAN 9785040019564

Історія Костюма від @;  Costume History RUSSIAN   Title: A History of Costume From Ancient Times to the Modern Times    ( Історія Костюма від Древности до Нового Часу)   ( Das Kostümwerk

Історія Костюма від @; Costume History RUSSIAN

Title: "A History of Costume From Ancient Times to the Modern Times "

( "Історія Костюма від Древности до Нового Часу")

( "Das Kostümwerk. Eine Geschichte des Kostüms aller Zeiten und Völker vom Altertum bis zur Neuzeit ")

Author (s) / Editor (s): Wolfgang Bruhn, Max Karle Tilke (Вольфганг Брун, Макс Тільке, Переклад Г. А. Світличної)

Language (s): Russian (Русский)

Publisher: "Eksmo-Press" ( "Ексмо-Пресс")

Place: Moscow, Russia (Москва); Year: 1998; Pages: 464

Cover: Hardback; Sizes: 23 (W) x 28.5 (H) cm; Copies: 5,000

Condition: Good ondition: Minor bumps on edges of cover. A minor crack on cover's spine. Overall, internally brand new condition For more information regarding book's condition- check provided images or ask us.

ISBN: 5-04-001956-4; Item's Code: XR-1788

ABOUT:

Very rare and unique, limited edition, illustrated, Russian translation of the famous book A History of Costume From Ancient Times to the Modern Times by Wolfgang Bruhn and Max Karle Tilke . The book introduces the history of folk costume: how it changed from era to era (from Ancient Egypt to the Gründerstva period (1871-1890), when a mixture of styles occurred). A classic in its field, this splendid guide to fashion history takes readers on a grand tour of the world, starting in ancient Egypt, circa 2200 BC, and continuing on to the late nineteenth century. Handsome, accurately rendered illustrations depict a vast treasure trove of wearing apparel - furs, veils, ruffs, pointed bodices, and sashes abound, as do cloaks, leggings, waistcoats, breeches, military uniforms, and assorted head- and footwear. All levels of society are included in this thorough, panoramic display of past fashions - from peasants and the middle class to the nobility. Here is apparel that clothed inhabitants of Far East kingdoms, gladiators of the Roman Empire, Crusaders of the Middle Ages, Dutch citizens of the 1600s, and Parisian society in the late 1700s. Thousands of costumes are shown, including fashions from ancient Assyria, Babylonia, Persia, and Greece, as well as clothing from England, France, Germany, Armenia, Italy, and other European countries.

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Питання моди, стилю і вибору одягу в тій чи іншій мірі цікавлять кожної людини. Костюм людини - це його образ, його життєвий стиль.
Національний, історичний костюм - це образ народу, втілений образ епохи.
У цій книзі унікальний за охопленням і аналізу матеріалу праця німецьких фахівців Вольфганга Бруна і Макса Тільке.
Альбом знайомить нас з історією костюма: з тим, як він змінювався від епохи до епохи (починаючи з Давнього Єгипту і до періоду грюндерство (1871-1890 рр.), Коли відбулося змішання стилів). В даному виданні розповідається про народну і національному одязі, в якій на протязі всієї історії простежуються місцеві особливості, національний колорит, станова приналежність і багато іншого.
В альбомі представлено більше п'яти тисяч ілюстрацій, які захоплюють нас в світ минулих епох і інших народів. На додаток до ілюстрацій історичного і народного костюма, автори пропонують читачам познайомитися з викрійками, які відображають основні особливості найважливіших типів одягу всіх часів і народів.

Перша частина розглядає історичний костюм від глибокої давнини до Нового часу. Друга частина - народні та національні костюми, які зазнали лише незначних змін і, в протівопожность історичного костюму, являють собою досить `стабільную` одяг. Видання задумано не тільки як наукове (історія костюма, народознавство), але і, головним чином, як практичне - для використання в театрі, кіно, при створенні нових моделей одягу, в прикладної графіку (наприклад, книжкової ілюстрації). Додатки - додаткові таблиці зі зразками викрійок. Докладний покажчик істотно полегшить всім нужденним в раді пошук костюмів певних епох і народів, а також різноманітних аксесуарів. Подібним же чином дослідник одягу знайде тут вказівки щодо основних її типів, найбільш загальні характеристики і описаний ия.


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ADDITIONAL INFO

Max Karl Tilke (6 February 1869 - 2 August 1942) was a well-known German artist and ethnographer.

Born in Breslau (Wrocław), Prussian Silesia, he entered the Prussian Academy of Arts in 1 886 and, as a student, traveled in Italy and Tunisia in 1890. After graduating from the Academy, he worked first in Berlin as an artist / decorator and then at the Prado in Madrid as a copyist. This period had a great influence on the formation of Tilke's work. After Spain, he worked in Paris as an illustrator in 1900. At this point, he was already known for having knowledge on costumes.

Returning to Berlin, he began to paint works of historical costumes, which gained him a reputation among the authorities and in high society. In 1911 at the Lipperheide Costume Library of the Kunstgewerbemuseum Berlin, Tilke had an exhibition of his first collection. The exhibition was so well received that it was purchased for the library with state monies.

When Tilke returned to Germany, he opened the first cabaret in Berlin on October 1st, 1901, which was called "The Hungry Pegasus" ( "Zum hungrigen Pegasus"). Tilke had become acquainted with it in Paris, and in Berlin he had the role of the conferencier (master of ceremonies). The cabaret was located in a small back room of the Italian restaurant "Dalbelli" at the Potsdamer Brücke. Among the (regular) guests and performers were Charles Horning, Ernst Griebel, Erich Mühsam, Georg David Schulz, Hans Hyan, Hanns Heinz Ewers, Maria Eichhorn ( "The Dolorosa") et al. with scetches, songs and programs. Half a year later, Tilke decided to return to painting full-time and the Hungry Pegasus disabanded.

In 1913 his friend Hanns Heinz Ewers helped Tilke to find a job at the "Deutsche BIOSCOP GmbH Filmgesellschaft", Neubabelsberg / Berlin. He was responsible for the costume design; for example for the movie Kadra Sâfa (1914).

Meanwhile, his growing reputation resulted in his coming to the attention of the Russian imperial court from which he received a small commission . The Tsar was so pleased with Tilke's work that he was invited to Tbilisi to work at the Caucasus Museum to paint the costumes in the Museum's collections as well as to undertake an ethnological expedition to enlarge the collection . In 1912/1913 he worked there as a Professor.

Tilke's plan was to paint the costumes in the Museum's collections as well as to undertake an ethnological expedition to paint subjects in situ . While this approach was perhaps more creative, practical realities rendered it inefficient. To overcome the many obstacles this method presented, a compromise solution was reached. Each model in national costume was photographed (in some instances the names of the models are still known ); then the costume was purchased; and finally, the painting was made from studying both the photograph and the actual costume . The results are works that combine ethnological accuracy with a talented artist's eye for character , place, detail, and emotion. However, whenever possible, Tilke painted his works directly from the models.

The outbreak of World War I put an end to the project before it was completed , and Tilke returned to Germany, taking some of his paintings with him. During the War, Tilke worked for the publishing union, Deutsche Verlag Union, in Stuttgart, painting works about the war, but he continued his interest in ethnic costumes and published several works on the topic . His most famous work, Orientalische Kostume in Schnitt und Farbe (Oriental Costume: Their Designs and Colors), was published in 1922. Tilke died in Berlin.

Max Tilke's talent, his wide range of activity, and his exquisite workmanship secure for him a pre -eminent place among artists and ethnographers alike. Additionally, as the years pass, these works take on an added value. As examples of ethnic costume are less and less frequently seen , and as more and more people forsake their national dress for westernized clothing and costume , these paintings stand as a record and a testament to a bygone , more colorful time.

Max Tilke stands out in that he chose the complicated and unexplored path of being both a scientist and an artist . In his view, the study of historical costume was indispensable to the study of cultural history . It was Tilke's aim to show the unique importance and significance of individual ethnic groups and his work reflects this aim .

Toward the end of his life, he lent his name to a collaboration with Wolfgang Bruhn . (Bruhn, Wolfgang, and Tilke, Max, Kostümwerk, Verlag Ernst Wassmuth, 1955, as translated into English as A Pictorial History of Costume and republished in 1973 by Hastings House). A copy of one of his books has been digitized and is online at the Indiana University Libraries . [6]

Some years ago there was small exhibition on Lydia Bagdasarianz , Tilke's assistant, at the Völkerkundemuseum Zürich (Ethnographic Museum of the University of Zürich), Switzerland.

Recently, there was an exhibition on Max Tilke's work at the Georgian National Museum in Tbilisi , Georgia. A publication is available, but rare.

At the Lipperheidische Kostümbibliothek, Berlin, a large collection of pictures and drawings is available for research .

Tags: Russia, Russian, Russians, USSR, Soviet, Lenin, Stalin, CCCP, Rusko-, red army, Ориг. назва: Дас Костумщерк. Еіне Гешічте дес Костумс аллер Зеітен унд Волкер вом Алтертум біс зур Неузеіт

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