COULON MarcelMareMagnum
Mario Costa CardolMareMagnum
Venga a Napoli, signor conte Storia poco nota del nostro Risorgimento
bross. edit. ill. con bandelle
Libreria Tara s.n.c. · Roma, IT7,70 €
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Broch?. 249 pages. Rousseurs.
Broch?. 113 pages.
Hardback, 285x245mm, 160p, French edition. etaf neuf ! . ISBN 978906153971113. La peinture de vue du dix-huitieme siecle a Venise est apparue avec Luca Carlevarijs et s'est eteinte a la mort de Francesco Guardi en 1793, suivi par l'invasion de Napoleon et la chute de la Republique de Venise en 1797. Entre deux, une constellation de peintres remarquables s'est distinguee dans l'illustration des vues les plus celebres comme des coins les plus recules de la ville dans d'eblouissantes images qui comptent parmi les plus grandes reussites artistiques du dix-huitieme siecle. Bien que Canaletto soit probablement l'artiste le plus directement associe a ces images, il comptait beaucoup de rivaux. Chaque artiste avait de la meme topographie sa propre vision unique et la representait de facon clairement distincte. Ce catalogue montre les differentes reponses a ce paysage urbain avec sa lumiere toujours changeante et ses personnages de theatre. Toutes les figures majeures sont ici representees, Bellotto, Canaletto, Carlevarijs, Guardi, Joli, Marieschi et Vanvitelli , a cote de quelques contemporains fascinants comme Cimaroli et Tironi dont les dernieres recherches ont mis en lumiere les rapports stylistiques complexes entre eux.National Gallery, Londen Expo: 13/10/2010 - 16/01/2011, National Gallery, Washington, 20/2/11 - 30/5/2011
bross. edit. ill. con bandelle
Hardcover, 183 pagina's, Nederlands, 225 x 155 mm, boek in prima conditie, met enkele illustraties in z/w,. ISBN 9789051570878.
paperback, 160 p., 100 b/w ill. + 16 colour ill., 210 x 297 mm, Languages: English . ISBN 9782503535265. This publication presents a collection of essays about painting in Venice from 1450 until 1750 with a central focus on the formal, stylistic, and structural aspects of the pictures. This book brings together essays about painting in Venice during three centuries of remarkable artistic production, influence, and exchange. The chronological scope of the anthology reflects the crucial interrelationship between the life of the arts and the republic, but also indicates the longevity of the distinctive, but not in the least isolated, mode of making and looking that engaged painters and viewers both inside and outside of Venice. The focused themes that emerge in the essays?the artist?s self-perception, the role of innovation and tradition in formal and material aspects of pictorial composition, the artistic exchange between Venice and other cities, both east and west, and the unique political and social pressures on artistic production and reception?reflect the Venetian engagement with many of the central concerns that preoccupied early modern artists. The dialogue established between Venetian art and society underpins all of the essays in the anthology; however, their critical focus remains on the formal, stylistic, and structural aspects of the pictures and how these visual mechanisms express meaning and shape viewer response
No marks or inscriptions. No creasing to covers or to spine. A very clean very tight copy with bright unmarked boards and no bumping to corners. 267pp. Detailed study of the paintings of Venetian artists Titian and Bellini from the 15th and 16th centuries with 222 illustrations.
Paperback flaps, 280x230mm, 220p, 120 colour illustrations, Dutch (NL) edition . ISBN 978883661861313. Na een eerste ontmoeting in 2009 rond de collectie van de Savoyes confronteren Vlaamse en Noord-Italiaanse musea nu opnieuw hun artistieke scholen in een verbluffende selectie schilderijen: 15 meesterwerken uit het Museum voor Schone Kunsten Antwerpen en een vijftigtal doeken uit de Accademia Carrara in Bergamo, een van de mooiste collecties van Venetiaanse schilderkunst. Venetian and Flemish Masters overloopt chronologisch de schilderkunst van de 15e tot de 18e eeuw. De vier onderdelen beslaan de vier eeuwen en omvatten elk vier thema's: portretten, heiligen te midden van de natuur, het gewijde en het profane, panoramische gezichten. In het quattrocento zijn de portretten van Bellini van invloed op Van Eyck, die zelf zijn naturalisme 'exporteert'. In het cinquecento laten de Venetianen de technieken van de Vlaamse primitieven achter zich. Bij Titiaan, Tintoretto en Veronese barsten de kleuren los, waarna ook Patenier zijn landschappen met licht overspoelt. In het seicento laat Rubens zijn sporen achter bij de Italiaan Tiepolo. En in het settecento vinden we in het zieltogende Venetie een toename van stijlen, van de cliches van Canaletto tot de sarcastische scenes van Guardi, die beinvloed werd door de buitensporigheid van Jordaens. De Venetiaanse en de Vlaamse School zouden zonder elkaar niet dezelfde zijn...
This is a very good softcover copy with only light cover wear. Completely clean. Text in Spanish and English. Illustrated in black & white. Full biographical information on the 20 Chilean painters. Limited edition 500 numbered copies. 8" square. This book will be securely packed and shipped with tracking.
PETIT IN 4. REL TOILE EDIT [MOY]. ENV 100 PP. 44 PPL EN NOIR. [MOY]
Acquaforte, 1930 circa. Lastra mm 125x165, figlio mm 355x505. Firma a matita in basso a destra “L. Bartolini”. Dedica incisa in lastra, in basso “V. Cardarelli”. Dalla biografia di Luigi Bartolini si evince che nel gennaio 1928 ha inizio la corrispondenza epistolare con Vincenzo Cardarelli, che durerà fino al febbraio 1930. Pertanto, la datazione della lastra viene ricondotta a tale periodo. Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia. Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Opera rarissima, non descritta dai repertori. Etching, circa 1930. Plate mm 125x165, son mm 355x505. Pencil signature at lower right "L. Bartolini". Dedication engraved on plate, at bottom "V. Cardarelli". From Luigi Bartolini's biography it is clear that in January 1928 he began his correspondence with Vincenzo Cardarelli, which lasted until February 1930. Therefore, the dating of the plate can be traced back to that period. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political suspicion, he was given a one - man show of 50 etchings at the second Rome Quadriennale in 1935, when he was awarded ...
Volume II only of two volumes. 232 pages. Front cover loose. Loss to spine at top/base - title and most gilt decoration. Text pages in good condition.
190 pages. Features: Exclusive - Bernie Madoff's Secrets; Michael Lewis on how Iceland went pffft! - could it happen here?; Is it time to rethink the American Dream?; Pirates of the 21st century - anatomy of high-seas hijacking; Brother can you spare a laugh?; and more. Average wear. Unmarked. A sound copy. Magazine
Broch?. 94 pages. Couverture l?g?rement d?fra?chie. 15x23 cm. Rousseurs.
328 pages including index. Contains a marvelous selection of the best writings about Vancouver by more than seventy authors, residents and visitors alike. Celebrates the people and place of a troubled, soothing, ever-changing city. Gift greetings upon front endpaper else clean, bright and unmarked with virtually zero wear. Dust jacket shows very light wear with two nicks to base of spine. Lovely giftable copy. Book
gebonden, bound, 71 pp, geillustreerd, nieuwstaat ! Deze catalogus is gewijd aan de heilige Hieronymus, patroon van de humanisten en inspiratiebron bij uitstek voor kunstenaars uit de 16e en de 17e eeuw. Tijdens de 16e eeuw maakte de heilige Hieronymus dertig procent uit van alle heiligenvoorstellingen. Maar ook in de 17de eeuw bleek de heilige van grote betekenis in de beeldende kunst en had hij een voorbeeldfunctie in de contrareformatie en het humanisme. Boek omvat werken, waaronder niet alleen schilderijen, tekeningen en prenten, maar ook boeken, een mooie olieverfschets, een reliekretabel,... . De kunstwerken zijn van de hand van toonaangevende kunstenaars zoals Joachim Patinir, Herri met de Bles, Marinus van Reymerswale, Adriaen Isenbrandt, Otto van Veen, Jan Massijs, Vittore Carpaccio en Jusepe Ribera.
127p. Numerous tipped in Van Gogh color reproductions engraved by Guezelle et Renouard, Paris. Blind, embossed ownership stamp. Small square 8vo. Original full linen cloth binding. Slight browning at edges. Slight musty smell.**PRICE JUST REDUCED! ART 2
Hardcover, 143 pages, English, 305 x 245 mm, in good condition, with fine illustrations,. ISBN 9783791320908. Best known for his lavish portraits of 17th-century nobility at the court of King Charles I in particular, Anthony van Dyck was also a master in the arts of drawing, watercolour and engraving. While his formal commissions are couched in the language of conspicuous wealth and power, his sketches and drawings display a taste for the dramatic action scene as well as a keen sense of character and humour. This book published on the occasion of the 400th anniversary of Van Dyck's birth takes a close look at all aspects of the master's techniques, his subject matter from highly stylised royal portraits to sketches of a beloved dog, and the modernity of his watercolour landscapes. Through a wide variety of ink and chalk drawings the text explores the relationship of the painter with the different media, and with the artistic conventions of his time. The biography places van Dyck in his historical context and completes a fresh, unorthodox view of this artist.
Hardcover, 143 pages, English, 305 x 245 mm, in good condition, with fine illustrations,. ISBN 9783791320908. Best known for his lavish portraits of 17th-century nobility at the court of King Charles I in particular, Anthony van Dyck was also a master in the arts of drawing, watercolour and engraving. While his formal commissions are couched in the language of conspicuous wealth and power, his sketches and drawings display a taste for the dramatic action scene as well as a keen sense of character and humour. This book published on the occasion of the 400th anniversary of Van Dyck's birth takes a close look at all aspects of the master's techniques, his subject matter from highly stylised royal portraits to sketches of a beloved dog, and the modernity of his watercolour landscapes. Through a wide variety of ink and chalk drawings the text explores the relationship of the painter with the different media, and with the artistic conventions of his time. The biography places van Dyck in his historical context and completes a fresh, unorthodox view of this artist.
