| Record ID | marc_columbia/Columbia-extract-20221130-021.mrc:23111804:1507 |
| Source | marc_columbia |
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LEADER: 01507cam a2200301Ia 4500
001 10100312
005 20180723221652.0
008 121119s2012 enka bc 000 0 eng d
010 $a 2012941456
020 $a9781857095487 (pbk.)
020 $a1857095480 (pbk.)
035 $a(OCoLC)ocn820276079
035 $a(NNC)10100312
040 $aPMN$cPMN$dCDX$dBDX$dBTCTA$dERASA$dUKMGB$dYDXCP$dCUD$dYNK$dOCLCO$dBWX$dEYM$dCUI$dNNC
050 14 $aN6797.H3$bA4 2012
082 04 $a709.2$223
100 1 $aRiopelle, Christopher.
245 10 $aRichard Hamilton :$bthe late works /$cChristopher Riopelle and Michael Bracewell.
260 $aLondon :$bNational Gallery ;$a[New Haven, Conn.] :$bDistributed by Yale University Press,$c2012.
300 $a64 p. :$bill. (chiefly col.) ;$c22 cm.
500 $aPublished to accompany the exhibition held at the National Gallery, London, 10th Oct. 2012-13th Jan. 2013.
520 8 $aThe authors examine Hamilton's long relationship with the National Gallery and how he shaped his final artistic statement for it: a computer-generated image over-painted by hand depicting Poussin, Courbet and Titian contemplating a reclining female nude and reflecting on art, beauty and desire.
600 10 $aHamilton, Richard,$d1922-2011$xCriticism and interpretation.
600 10 $aHamilton, Richard,$d1922-2011$vExhibitions.
700 1 $aRiopelle, Christopher.
710 2 $aNational Gallery (Great Britain)
700 1 $aBracewell, Michael,$d1958-
852 00 $boff,fax$hN6797.H3$iA4 2012g