Hardcover. NY, Whitney Museum of Art/Abrams, 1st, 1992, Hardcover in a bright dust jacket, 187 pages. Published to accompany a 1992-93 exhibition held at the Whitney Museum of American Art, New York, this book deals with the full scope of Agnes Martin's art. It includes essays that place her work in the context of American and European 20th-century art and culture. Agnes Martin's paintings, constructions, and works on paper provide a link between the chromatic abstraction of artists such as Mark Rothko and Barnett Newman, her generational and ideological peers, and the Minimalist vocabulary of the 1960s. This book reproduces works made between 1957 and 1967, and better-known paintings and constructions created since 1974. A selection of Martin's writings reveals the spiritual philosophy that sustains her painting. Clean copy.
Hardcover. Oxford UK, Oxford University Press, 1st, 2019, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 155 pages. This monograph is both an intellectual summation as well as a philosophical advancement of key themes of the work of Keith Lehrer on several key topics--including knowledge, self-trust, autonomy, and consciousness. He here attempts to integrate these themes and develop an intellectual system that can constructively solve philosophical problems. The system is indebted to the modern work of Sellars, Quine, and Chisholm, as well as historically to Hume and Reid. At the core of this system lies Lehrer's theory of knowledge, which he previously called a coherence theory of knowledge but now calls a defensibility theory. Lehrer argues that knowledge requires the capacity to justify or defend the target claim of knowledge in terms of a background system. Defensibility is an internal capacity supplied by that system to meet objections to the claim. This theory however leaves open the problem of "experience"--noted by other philosophers--i.e. how to explain the special role of experience in a background system even granted we are fallible in describing it. Lehrer offers a solution to the problem of experience, arguing that reflection on experience converts the experience itself into an exemplar, something like a sample that becomes a vehicle or term of representation. Name on front fly leaf, light pencil marking to about 12 pages.
Softcover. Boston, Brill Academic, 1st, 2003, Book: Very Good, Dust Jacket: None, Softcover, 562 pages. This monograph demonstrates why humanism began in Italy in the mid-thirteenth century. It considers Petrarch a third generation humanist, who christianized a secular movement. The analysis traces the beginning of humanism in poetry and its gradual penetration of other Latin literary genres, and, through stylistic analyses of texts, the extent to which imitation of the ancients produced changes in cognition and visual perception. The volume traces the link between vernacular translations and the emergence of Florence as the leader of Latin humanism by 1400 and why, limited to an elite in the fourteenth century, humanism became a major educational movement in the first decades of the fifteenth. It revises our conception of the relationship of Italian humanism to French twelfth-century humanism and of the character of early Italian humanism itself. Clean, bright copy.
Softcover. Cambridge MA, Medieval Academy of America, 1st, 1979, Book: Very Good, Dust Jacket: None, Softcover, 152 pages. Bouchard's work is erudite and provides a picture of the development of the shifting relationship between the pastoral demands placed on the prelates and those of the secular administrative. Some coped with the phenomenal increase of secular administration over the century better than others. Some coped with the machinations of local counts and even kings who would seize property almost at a whim better than others. One even defied the Pope until threatened with excommunication if he did not accept his 'promotion'. Clean copy.
Hardcover. London, Faber & Faber, 1st, 1963, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 94 pages. David Daube was a scholar of Roman and Jewish law, and his expertise led him to some unique scriptural insights. In this stimulating monograph, Daube argues that the Bible presents the exodus as a judicial proceeding, with Egypt coming under God's judgment for its treatment of the Israelite slaves. He shows that this judicial model explains some unusual details of the narrative. For example, Moses' negotiations with Pharaoh and the fact that Israelite women were given jewelry before their departure are part of implementing the proper procedures for releasing slaves as outlined in Deut 15:13. Daube also brings out parallels in the biblical accounts of Israel's release from Egypt, Jacob's departure from Laban in Gen 31, and the release of the captured ark of the covenant by the Philistines in I Sam 6. Name on front fly leaf, light pencil notations to several pages.
Hardcover. NY, Abrams, 1st, 2016, Book: Very Good, Dust Jacket: None, Hardcover in pictorial boards, 175 pages in color. William Wegman's postcard paintings reflect a lifetime of engagement with narrative, perspective, art history, architecture, popular culture, humor, and philosophy in art. Starting with one or more vintage postcards, Wegman constructs scenes that range from intimate interiors to cosmic vistas, filling audaciously complex spaces with intriguing incident. Collected together, the paintings possess the universal, encyclopedic, and mysterious qualities of their source materials. In addition to Martin Filler's introduction, a stellar group of contributors responds to the work.
 "The Use of Sacrificial Ideas in Greek Christian Writers from the FNew Testament to John Chrysostom: Patristic Monograph Series by: Young, Frances")
 "William Wegman: Paintings by: William Wegman")