collareta marco (13 Ergebnisse)

Zustand: COME NUOVO. Firenze, S.P.E.S Studio per Edizioni Scelte cm.13,5x21, pp.32, num.figg.bn.e col.nt. brossura con cop.fig.a col. Collana Lo Specchio del Bargello,2.

Softcover-Großformat. Zustand: Gut. 48 Seiten; Der Erhaltungszustand des hier angebotenen Werks ist trotz seiner Bibliotheksnutzung sehr sauber. Es befindet sich neben dem Rückenschild lediglich ein Bibliotheksstempel im Buch; ordnungsgemäß entwidmet. Leichte altersbedingte Anbräunung des Papiers. In ITALIENISCHER Sprache. Sprache: Italienisch Gewicht in Gramm: 340.

Zustand: Very good.

Zustand: NEW.

Soft cover. Zustand: Very Good. No Jacket. 1st Edition. English text.; Paperback.; 24.5 x 29.5 cm.; 2.3 kg.; 359 pages with colour illustrations.; Used with signs of wear on the exterior and interior. The exterior shows minor edge wear, scuffs and scratches on the front cover, spine and back cover. The spine shows minor wear throughout, and a slight scuff at the top. Interior with minor signs of wear.; Catalogue from the exhibition Bronzino. Artist and Poet at the Court of the Medici, held at Florence, Palazzo Strozzi, 24 September 2010-23 January 2011.; "It is difficult to think of a painter more Florentine than Bronzino. The exhibition "Bronzino. Artist and Poet at the Court of the Medici" is a landmark, and the Palazzo Strozzi the perfect setting for the first ever monographic exploration of Bronzino's paintings. The son of a butcher, Agnolo di Cosimo di Mariano, better known by his nickname Bronzino, was born on 17 November 1503 in Monticelli, then a suburb of Florence. After a short apprenticeship with Raffaellino del Garbo, in 1517-8 he became the pupil of Jacopo da Pontormo (1494-1557), and by the early 1520s he had gained some independence as a collaborator in his workshop. The friendship and professional association between Pontormo and Bronzino, who were actually relatively close in age, continued for almost four decades. Pontormo's impact on Bronzino lasted into the early 1530s. Bronzino is one of the greatest artists in the history of Italian painting, and embodies the ripening of the 'modern manner' in the years in which Cosimo I de' Medici ruled Florence. Bronzino conveyed the elegance of the Medici court with an austere beauty and 'naturalness', yet at the same time-a kind of icy aristocratic splendour. A sophisticated court painter, he was also a poet and a member of the Accademia Fiorentina. His poetry ranged from the academic style of Petrarch to ironic and satirical verses such as 'Il piato', where he describes an imaginary and symbolic journey through a giant's entrails, or 'La cipolla', a playful and erotic homage to the multi-layered complexity of female physical and metaphysical anatomy. Nor were Bronzino's interests limited to the links between painting and poetry: he also took up both pen and brush in the dispute about whether painting or sculpture was the nobler art. This dispute, known as paragone, was promoted by Benedetto Varchi, who in 1547 solicited the opinion of various artists on the subject of the primacy of the arts, including Bronzino, Michelangelo, Pontormo and Cellini. Bronzino even responded with the Portrait of the Dwarf Morgante, Cosimo I's court dwarf, shown naked on two sides of the same canvas-a picture intended to be placed in the centre of a room as though it were a sculpture. Bronzino's legacy was continued by his pupil Alessandro Allori, who developed his master's austerely formal style, while at the same time adding a strongly sentimental quality, strengthened by a naturalism whose presence became increasingly marked towards the end of the century. Allori was to paint until 1607, by which time the naturalism of Caravaggio was spreading unchecked, marking the beginning of a new era in painting. All art is contemporary in the moment of its creation, and although Bronzino's 'modern manner' was soon seen by the younger generation as old-fashioned, to modern eyes it once again seems fresh and contemporary." excerpt from the introductory text by Lovenzo Beni Smaghi, Chairman of the Fondazione Palazzo Strozzi.

Zustand: NEW.

Zustand: new.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Good. First Edition. Fine-looking, structurally sound hardcover, little discernible wear, bright interior, unmarked. Bright and shiny dust jacket, illustrated, little worn on front panel, moderately so on rear and with two closed tears, tape-repaired interior, neatly. A fine and comprehensive art historical survey of the Tuscany region of Italy during the Middle Ages. Contributions by the editor, Marco Collareta and with contributions by him and by Valerio Ascani, Michel Bacci, Monica Baldassarri, Chiaa Bozzoli, Antonino Caleca, Fulviao Cervini, Marco Collareta, Andrea Del Grosso, Annamaria Ducci, Marco Frati, Antonio Milone, Alessio Monciatti, Mauro Ronzani, Angelo Tartuferi, Guido Tigler, and Michele Tomasi. Bound handsomely in gray cloth over boards, with burgundy stamped lettering to front cover and spine. [10], 11-382 pp.Member, I.O.B.A., C.B.A., and adherent to the highest ethical standards. Additional postage may be required for oversize or especially heavy volumes, and for sets.

247 S., reich bebildert, Okart., 4*. Sauberes Exemplar. 69 Sprache: Italienisch Gewicht in Gramm: 1000.

1985, 93 S., Okart., NaV, Einband leicht bestoßen (Italienisch) + beiliegend: deutscher Zeitungsartikel zum Thema.

Zustand: OTTIMO USATO. ITALIANO Collana diretta da Liletta Fornasari, Alessandra Giannotti. Provincia di Arezzo, Camera di Commercio, Industria, Artigianato e Agricoltura, Comune di Arezzo. Saggi di Valerio Ascani, Luciano Bellosi, Fulvio Cervini, Marco Collareta, Gaetano Curzi, e altri. Illustrazioni presenti nel volume. Il volume rilegato in tessuto si presenta in ottimo stato di conservazione. Il dorso e le copertine sono integri. Le pagine interne sono bianche e fruibili. I tagli puliti e regolari. La cerniera è ben salda. La sovracoperta che riveste il volume è in buone condizioni. Numero pagine 277.

Zustand: 2. PHOTOS SUR DEMANDE.

Gebunden. Zustand: New. Technische Innovationen ermoeglichen nicht nur neue Produktionsverfahren, sondern eroeffnen auch neue Moeglichkeiten der Formgebung. Zugleich wirken sie auf bereits etablierte Verfahren, Medien und Gattungen zurueck. Der Band steht am Anfang einer Reihe, die di.