MARC record from Internet Archive

LEADER: 04243cam 22008414a 4500
001 ocm41620423
003 OCoLC
005 20201030053108.0
008 990615s1999 enka b 001 0 eng
007 ta
010 $a 99036155
040 $aDLC$beng$cDLC$dUKM$dC#P$dLVB$dBAKER$dNLGGC$dBTCTA$dYDXCP$dSINLB$dHEBIS$dUKV3G$dIG#$dILU$dHDC$dOCLCF$dOCL$dCNNGC$dBDX$dOCLCQ$dOCLCA$dDEBBG$dSE4M6$dOCLCO$dOCLCQ$dIOG$dOCLCO$dOCLCQ$dCPO$dOCLCQ$dCEF$dOCLCO$dOCLCQ$dUKUOY$dOCLCQ$dOCLCA
015 $aGB99W8317$2bnb
015 $aGBA041394$2bnb
019 $a41925568$a44438866$a59431166$a222691612$a231870541$a788888132$a982665596$a1008274740
020 $a0754600130$q(acid-free paper)
020 $a9780754600138$q(acid-free paper)
035 $a(OCoLC)41620423$z(OCoLC)41925568$z(OCoLC)44438866$z(OCoLC)59431166$z(OCoLC)222691612$z(OCoLC)231870541$z(OCoLC)788888132$z(OCoLC)982665596$z(OCoLC)1008274740
042 $apcc
050 00 $aN8217.B77$bS94 1999
080 $a7.04
082 00 $a704.9/44$221
084 $a21.02$2bcl
084 $aLH 70150$2rvk
084 $aLH 70530$2rvk
084 $afn e13z$2sdnb
100 1 $aSweetman, John$q(John E.)
245 14 $aThe artist and the bridge :$b1700-1920 /$cJohn Sweetman.
260 $aAldershot, England ;$aBrookfield, Vt. :$bAshgate,$c©1999.
300 $axiii, 208 pages :$billustrations (some color) ;$c27 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references and index.
505 00 $tIntroduction: The approaches$g1 --$g1$tViews and sightlines 1700-1800$g23 --$g2$tNew encounters, new effects 1750-1800$g57 --$g3$tFar objectives, missed connexions 1800-1850$g87 --$g4$tRealities and ideals 1800-1920$g127.
520 1 $a"From the stone bridges of neoclassicism which soar out of wild woods to span pastoral valleys to the post-1750 engineer's bridge with its links to the more industrial landscape, the bridge was a popular feature in painting throughout the period 1700 to 1920. Why did so many artists choose to portray bridges? In this lavishly illustrated and intriguing book, John Sweetman seeks to answer this question. He traces the history of the bridge in painting and printmaking through a vast range of work, some as familiar as William Etty's The Bridge of Sighs and Claude Monet's The Railway Bridge at Argenteuil and others less well known such as Wassily Kandinsky's Composition IV and C.R.W. Nevinson's Looking through Brooklyn Bridge.
520 8 $aDistinctive characteristics emerge revealing the complex role of the bridge as both symbol and metaphor, and as a place of vantage, meeting and separation."--Jacket.
650 0 $aBridges in art.
650 0 $aSymbolism in art.
650 6 $aPonts dans l'art.
650 6 $aSymbolisme dans l'art.
650 7 $aBridges in art.$2fast$0(OCoLC)fst00838831
650 7 $aSymbolism in art.$2fast$0(OCoLC)fst01140771
650 17 $aSchilderkunst.$2gtt
650 17 $aGrafische kunst.$2gtt
650 17 $aBruggen (weg- en waterbouw)$2gtt
650 7 $aBrücke$gMotiv$2gnd
650 7 $aKunst$2gnd
650 7 $a1900-tallet.$2humord
650 7 $aBildekunst.$2humord
650 7 $aBruer.$2humord
650 7 $aMotiver (Bildekunst)$2humord
650 7 $a1700-tallet.$2humord
650 7 $a1800-tallet.$2humord
776 08 $iOnline version:$aSweetman, John (John E.).$tArtist and the bridge.$dAldershot, England ; Brookfield, Vt. : Ashgate, ©1999$w(OCoLC)607446822
938 $aBaker & Taylor$bBKTY$c95.00$d71.25$i0754600130$n0003356690$sactive
938 $aBrodart$bBROD$n58292098$c$50.00
938 $aBaker and Taylor$bBTCP$n99036155
938 $aIngram$bINGR$n9780754600138
938 $aYBP Library Services$bYANK$n100169038
029 1 $aAU@$b000020214152
029 1 $aAU@$b000020249096
029 1 $aDEBBG$bBV012763351
029 1 $aGEBAY$b6294239
029 1 $aHEBIS$b091509572
029 1 $aHR0$b0754600130
029 1 $aNOK$b0754600130
029 1 $aNZ1$b5225061
029 1 $aSE4M6$b011775580
029 1 $aUNITY$b014880016
029 1 $aYDXCP$b100169038
994 $aZ0$bP4A
948 $hNO HOLDINGS IN P4A - 309 OTHER HOLDINGS