Stamp: Structure and Light - Coutances Cathedral (France 2016)
Structure and Light - Coutances Cathedral (France 2016)
28 November (France ) within release Structure and Light goes into circulation Stamp Structure and Light - Coutances Cathedral face value Lettre verte
| Stamp Structure and Light - Coutances Cathedral in catalogues | |
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| WADP Numbering System - WNS: | WAD:FR226.16 |
Stamp is vertical format.
Number in set - 12||(show set). Layout - self adhesive booklet of 12 of 12 designs. Issuing - LA POSTE. Printer - Phil@Poste BoulazacAlso in the issue Structure and Light :
- Stamp - Structure and Light - Coutances Cathedral face value Lettre verte;
- Stamp - Structure and Light - Sainte-Chapelle - Paris face value Lettre verte;
- Stamp - Structure and Light - Chartres Cathedral face value Lettre verte;
- Stamp - Structure and Light - Basilica of Saints Nazarius and Celsus - Carcassonne face value Lettre verte;
- Stamp - Structure and Light - Strasbourg Cathedral face value Lettre verte;
- Stamp - Structure and Light - Abbey Church of Saint-Savin-sur-Gartempe - Saint-Savin face value Lettre verte;
- Stamp - Structure and Light - Bourges Cathedral face value Lettre verte;
- Stamp - Structure and Light - Le Mans Cathedral face value Lettre verte;
- Stamp - Structure and Light - Basilica of Saint Denis - Saint-Denis face value Lettre verte;
- Stamp - Structure and Light - Bayeux Cathedral face value Lettre verte;
- Stamp - Structure and Light - Beauvais Cathedral face value Lettre verte;
- Stamp - Structure and Light - Notre-Dame Cathedral - Paris face value Lettre verte;
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| Stamp Structure and Light - Coutances Cathedral in digits | |
| Country: | France |
| Date: | 2016-11-28 |
| Size: | 24 x 38 |
| Perforation: | 13 by 13 |
| Format: | Stamp |
| Face Value: | Lettre verte |
Stamp Structure and Light - Coutances Cathedral it reflects the thematic directions:
In European academic traditions, fine art is made primarily for aesthetics or creative expression, distinguishing it from decorative art or applied art, which also has to serve some practical function, such as pottery or most metalwork. In the aesthetic theories developed in the Italian Renaissance, the highest art was that which allowed the full expression and display of the artist's imagination, unrestricted by any of the practical considerations involved in, say, making and decorating a teapot. It was also considered important that making the artwork did not involve dividing the work between different individuals with specialized skills, as might be necessary with a piece of furniture, for example. Even within the fine arts, there was a hierarchy of genres based on the amount of creative imagination required, with history painting placed higher than still life.
