The giraffe in history and art /

Cover title.

Byzantine mosaics in Greece, Hosios Lucas & Daphni,

Bibliographical foot-notes.

"A joy for ever"; (and its price in the market): being the substance (with additions) of two lectures on the political economy of art, delivered at Manchester, July 10th and 13th, 1857.

Includes index.

Deutsche Renaissance. Eine Sammlung von Gegenständen der Architektur, Decoration und Kunstgewerbe in Original-Aufnahmen.

Bd. 9 has also special t.p.: Deutsche Renaissance in Österreich.

Histoire de l'art dans l'antiquité : Égypte, Assyrie, Perse, Asie Mineure, Grèce, Étrurie, Rome /

Vols. 8-10 are by G. Perrot.

Histoire de l'art chez les anciens /

Translated by Huber, revised by Jansen. cf. Brunet, Manuel du libraire, v. 5, col. 1463.

Leçons sur l'art égyptien,

Mode of access: Internet.

Hopes and fears for art /

Previous ed. 1882 by Robert Brothers, Boston.

Legends of the monastic orders, as represented in the fine arts : forming the second series of sacred and legendary art /

Mode of access: Internet.

L'architecture,

Includes bibliographies.

Hopes and fears for art.

The lesser arts.--The art of the people.--The beauty of life.--Making the best of it.--The prospects of architecture in civilization.

The arts in early England,

The author died while several chapters of v. 6 were obviously unfinished, but no attempt was made to complete the subject-matter. The work was to have been concluded with a 7th volume discussing the illuminated manuscripts of the period.

The Role of Chinese Plants in Hungarian Landscape Architecture

Most outdoor plants in Hungarian horticulture are exotas mainly from Middle and East Asia and North America. The flora of China is diversified and has many species because the last glacial period did not reach China. The richness of the Chinese flora was known for Europeans by the missionaries and medics first in 19th cectury. Later some bigger nurseries sent expeditions in China to collect new plants. Nowadays the Hungarian landscape architecture is impossible without Chinese plants.

Knot/Knotting Practice in Craft and Space

Knot/knotting Practice in Craft and Space is a three part research-creation project that used a study of knotting techniques to locate craft in an expanded field of spatial practice. The first part consisted of practical, studio based exercises in which I worked with various natural and synthetic fibres to learn common knotting techniques. The second part was an art historical study that combined craft and architecture history with critical theory related to the social production of space. The third part was an exhibition of drawing and knotted objects titled Opening Closures. This document unifies the lines inquiry that define my project. The first chapter presents the art historical justification for knotting to be understood as a spatial practice. Nineteenth-century German architect and theorist Gottfried Semper’s idea that architectural form is derived from four basic material practices allies craft and architecture in my project and is the point of departure from which I make my argument. In the second chapter, to consider the methodological concerns of research-creation as a form of knowledge production and dissemination, I adopt the format of an instruction manual to conduct an analysis of knot types and to provide instructions for the production of several common knots. In the third chapter, I address the formal and conceptual underpinnings of each artwork presented in my exhibition. I conclude with a proposal for an expanded field of spatial practice by adapting art critic and theorist Rosalind Krauss’s well-known framework for assessing sculpture in 1960s.