Galassi maria clelia (27 Ergebnisse)

Hardcover. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Brossura. Zustand: new. Genova, 2019; br., pp. 104, ill., cm 17x24. (Materiali d'Arte Genovese). Il titolo di questo volume trae la citazione dalla deposizione rilasciata nel 1624 da Bernardo Strozzi, chiamato con Luciano Borzone a stimare i lavori - pala d'altare e affreschi - eseguiti da Andrea Ansaldo per la cappella di San Carlo nella chiesa di Nostra Signora della Concordia ad Albissola Marina. Il committente, Giuseppe Ghirardi, riteneva di dover pagare l'intero lavoro 470 lire; l'Ansaldo ne reclamava 2.400, una cifra non troppo distante da quella di 2.130 lire stabilita dallo Strozzi e dal Borzone, suoi periti di parte, di cui 500 per la sola pala d'altare. Alla fine, l'artista riceverà complessivamente 1.200 lire, la metà di quanto reclamato ma comunque quasi il triplo di quanto il Ghirardi pretendeva di sborsare inizialmente. La vicenda, ben documentata attraverso il verbale dell'interrogatorio reso dai due pittori periti, risulta paradigmatica per comprendere come fosse percepito e su quali parametri fosse valutato il lavoro del pittore in questi primi decenni del Seicento, attestando il netto scontro tra una mentalità provinciale e arretrata, quella del Ghirardi - per cui il prezzo della pittura doveva essere ancora stabilito sulla base del numero delle figure. Libro.…

hardcover. Zustand: New. 1st.

Hardcover. Zustand: Brand New. 239 pages. 11.75x8.25x0.75 inches. In Stock.

Zustand: New.

Hardback. Zustand: New. 1st.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: As New. Unread book in perfect condition.

Rilegato. Zustand: nuovo. Zustand des Schutzumschlags: nuovo. prima edizione. Buy print version € 210,00 EXCL. VAT RETAIL PRICE ISBN: 978-2-503-60720-7 Hardback Available This book rediscovers the Antwerp painter Jan Massys (c.1510-1573) and his artistic milieu. SUBJECT(S) Renaissance painting Painters REVIEW(S) "As expected in the Me Fecit series of which this volume is a part, attention to painting technique and laboratory examinations figures prominently." (Larry Silver, in Historians of Netherlandish Art Reviews, May 2024) BIO Maria Clelia Galassi graduated in art history at the University of Genoa and obtained her PhD from the University of Milan. Since 2000 she is professor at the University of Genoa, where she teaches History of collecting and Technical Art History. She focused her researches on Flemish and Italian painting technique during the Early Modern Age, and in the artistic relationship between Genoa and the Netherlands in the 15th and 16th centuries. SUMMARY The painter Jan Massys (c. 1510-1573) trained under his father Quinten, succeeding him after his death (1530) at the head of Antwerp's most famous workshop. However, his career, destined for certain success, was abruptly cut short in 1544. Condemned for joining the Loysts sect, he had to flee Antwerp, finding refuge perhaps initially in France and at one point in Italy. Only in 1555 was he able to return to his homeland, regaining his artistic leadership within a few years. His oeuvre consists exclusively of works for private use and is characterized, in particular, by the depiction of elegant and seductive nude or half-naked female figures, protagonists of biblical or mythological subjects. The identification of the patron of the 1561 Venus with the view of Genoa (Stockholm, Nationalmuseum) in the person of the noble Genoese banker Ambrogio di Negro, offered the possibility of reconstructing the social context of the artist's clientele and his relations with those intellectuals - both Genoese and Flemish-who gave life to the lively humanist academies of Antwerp. The figure emerges of a cultivated and particularly refined painter, who shared with his patrons the ideals of neo-Petrarchan poetry and executed paintings of great preciousness, characterized by a meticulous and skillful painting technique. TABLE OF CONTENTS CHAPTER 1 'Joannes Massiis alias Quintens': Follower of a Great Artistic Legacy 1. Jan, his father Quinten's collaborator and emulator 2. The beginnings under paternal tutoring 2.1 The Prado Diptych, an unsolvable case? 2.2 The Saint Mary Magdalene of Antwerp: a proposal 3. Developing the prototype of Quinten Massys's Butter Madonna 4. The beginnings as Quinten's follower: the first secular subjects 5. Conclusions CHAPTER 2 A Career of ups and downs 1. Jan's ascertained biography through documents and dated paintings 2. Reconstructing a background: the years of a successful debut 2.1 The first Madonnas 2.2 The New York Rest on the Flight into Egypt 2.3 Secularizing religious themes: the Phoebus Susanna and the Elders 3. The exile 3.1 Where did he go? 3.2 The two paintings produced in exile 4. Back to a profoundly transformed Antwerp 4.1 Religious subjects for Catholic and reformed clientele 4.2 Genre scenes CHAPTER 3 Jan Massys and Female Beauty 1. 'Une volupté que le maîtres flamands n'avaient point obtenue ou cherchée jusqu'alors': characteristics of the Massys's brand 1.1 Changing aesthetic canons: Jan's answer to Antwerp Romanists 2. The Venus of Cythera with the Views of Genoa: a clue about Jan Massys's patrons 3. Was it Jan van der Noot who inspired, or commissioned, the Flora a with the view of Antwerp? 4. 'Ut pictura thaetrum': Jan Massys's tableax vivants-like paintings for an elite audience. A hypothesis that requires further investigation 5. A special Merry Company Language : English text.…

Zustand: New. 2024. 1st Edition. hardcover. . . . . .

Buch. Zustand: Neu. Neuware - The painter Jan Massys (c. 1510-1573) trained under his father Quinten, succeeding him after his death (1530) at the head of Antwerp's most famous workshop. However, his career, destined for certain success, was abruptly cut short in 1544. Condemned for joining the Loysts sect, he had to flee Antwerp, finding refuge perhaps initially in France and at one point in Italy. Only in 1555 was he able to return to his homeland, regaining his artistic leadership within a few years. His oeuvre consists exclusively of works for private use and is characterized, in particular, by the depiction of elegant and seductive nude or half-naked female figures, protagonists of biblical or mythological subjects. The identification of the patron of the 1561 Venus with the view of Genoa (Stockholm, Nationalmuseum) in the person of the noble Genoese banker Ambrogio di Negro, offered the possibility of reconstructing the social context of the artist's clientele and his relations with those intellectuals - both Genoese and Flemish-who gave life to the lively humanist academies of Antwerp. The figure emerges of a cultivated and particularly refined painter, who shared with his patrons the ideals of neo-Petrarchan poetry and executed paintings of great preciousness, characterized by a meticulous and skillful painting technique.…

Hardback. Zustand: New. 1st.

Zustand: New. 2024. 1st Edition. hardcover. . . . . . Books ship from the US and Ireland.

Zustand: gut. Jan Massys : Renaissance Painter of Flemish Female Beauty. In deutscher Sprache. pages.

Zustand: COME NUOVO. Genova, Fondazione Cassa di Risparmio di Genova e Imperia cm.26,5x33, pp.430, centinaia di figure bn.e a colori nel testo, legatura editoriale in tutta tela, con sopraccoperta figurata a colori.

hardcover. Zustand: Very Good. Tiratura realizzata dall'editore per la Cassa di Risparmio di Pisa; stampa 1989 - Volume rilegato in tela editoriale color mattone, sovraccoperta originale, 315 pagine con tavole a colori fuori testo; catalogo delle opere illustrato in bianco e nero. Indice generale consultabile nelle nostre immagini. Tenue ingiallimento al dorso e ai margini della sovraccoperta, peraltro copia in ottimo stato -- Figlio di Giovan Battista, un orafo nato a Firenze ma trasferitosi a Pisa in cerca di lavoro, fu pittore come i suoi fratelli Baccio e Orazio che fu tra i protagonisti della pittura italiana ed europea dei primi decenni del Seicento. La formazione di Aurelio si sviluppò a Firenze dove si era trasferito dopo la morte del padre (1575) e prima del suo trasferimento a Roma avvenuto probabilmente nel 1578 e dove si trattenne con il fratello Orazio fino al 1587: è di questo arco di tempo l'unica opera sua giunta fino a noi a Roma, la decorazione della Cappella dell'Assunta in S. Maria della Vallicella. Nel 1588 egli ritornò a Pisa e sono degli anni successivi due capolavori del Duomo di Pisa come l'Adorazione dei pastori e l'Adorazione dei Magi. Nel 1597 si trasferì a Genova e qui, dopo aver lavorato per il principe Giovanni Andrea Doria, divenne il pittore preferito dagli ordini religiosi conventuali che puntavano ad una nuova spiritualità nella piena applicazione di programmi dottrinali di sicura ortodossia. Il Lomi aveva condiviso pienamente la lezione che Gabriele Paleotti nel suo Discorso intorno alle immagini sacre e profane (Bologna 1582) aveva espresso: esse devono "persuadere le persone alla pietà et ordinarle a Dio; perché essendo queste immagini sacre cose di religione e richiedendo la virtù della religione che si renda il debito culto a Dio, ne segue che lo scopo di queste immagini sarà di muovere gli uomini alla debita obbedienza e soggezione a Dio". Nel 1604 egli ritornò a Pisa e qui rimase fino al 1613 quando si spostò a Firenze dove abitò almeno fino al 1618. La sua morte probabilmente avvenne a Pisa tra il 1623 e il 1624. Book.…

rilegato Copertina flessibile. Zustand: Molto buono (Very Good). 1989; Opera con copertina rigida e sovraccoperta alettata. Numerose illustrazioni a colori e b/n nt e ft. Pag.318STO6. Book.

Couverture souple. Zustand: Comme neuf. Zustand des Schutzumschlags: Comme neuf. Il polittico della cervara di Gerard David a cura di Clario Di Fabio, Maryan W.Ainsworth, Franca Carboni,Clario Di Fabio, Maria Clelia Galassi, 2005 Silvana editoriale Milano,Brossura (softcover) illustrazioni in bianco e nero e a colori ( ill. black&white and colours), 95 pag230X280mmlingua italiano (italian Text.).…

couverture rigide, 288 pages, avec illustrations en couleur, 30,5 x 23 cm, texte en fran ais Neuf. ISBN 9789462304024. La beaut et la laideur sont, depuis l?Antiquit , des sujets qui ne cessent de fasciner et de questionner, s?agissant de th mes universels dont les variantes sont d termin es selon les cultures et les poques. Comment la dialectique entre le beau et le laid s?est-elle formellement exprim e entre la fin du XVe si cle et le XVIe, p riode qui s?av rera charni re ? Les artistes de la Renaissance ont t les premiers leur accorder une gale importance et cet int r t ira croissant tout au long du XVIe si cle. Le pr sent ouvrage explore cette trajectoire, d ployant les th mes de la beaut et de la laideur sous leurs aspects les plus saillants et les plus repr sentatifs. Une approche comparative entre les oeuvres de la Renaissance italienne et celles de l?Europe du Nord, en particulier des anciens Pays-Bas, permet de saisir les constantes et les d clinaisons dans l?histoire des formes et du go t, l?appui d?oeuvres accompagn es de notices, entre autres de Sandro Botticelli, Lucas Cranach l?Ancien, L onard de Vinci, Frans Floris de Vriendt, Albrecht D rer, Lorenzo Lotto, Quentin Metsys, Michel-Ange, Titien, Le Tintoret et Veronese. Sous la direction scientifique de Chiara Rabbi Bernard, avec des essais de Cristina Acidini, Christophe Brouard, Elena Capretti, Maria Clelia Galassi, Yves Hersant, Koenraad Jonckheere, Catherine Lano , Pietro C. Marani et Giandomenico Spinola. 0 g.…

Couverture rigide. Zustand: Très bon état. Zustand des Schutzumschlags: Very Good. In-4 33 x 26,5 cm. Reliure éditeur pleine toile grise, jaquette noire illustrée en couleurs, 676 illustrations en couleurs et en noir & blanc dans et hors-texte, biographies des artistes, table des matières. Exemplaire en très bon état. Texte en italien. …

Zustand: gut. Bellezza e Bruttezza, L?idéal, le réel et le caricatural à la Renaissance In deutscher Sprache. pages.

Volume pubblicato per conto della Cassa di Risparmio di Pisa, rilegato, tela, sovracoperta, formato 25x29, pagine 316, illustrato con XCV tavole a colori e 34 in nero, ottime condizioni - 7125 9788877810113 2.

Libro vintage. Autore: Galassi Maria Clelia. Editore: n.d. Luogo: Genova. Anno: 1992. Formato: in-8°. Pagg: 18. Legatura: punto metallico. Collana: Bollettino dei Musei civici genovesi. Conservazione: buona. Estratto, anno XIV - N. 40-41-42 - Gennaio/Dicembre 1992. Ordinario segno del tempo.

Rilegato. Zustand: fine. Ospedaletto, 1989; ril., pp. 315, 34 ill. b/n, 95 ill. col., cm 23x29. (Arte). Libro.

Hardback, 239 pages, ENG. edition; 305 x 220 x 20 mm; llustrations: 82 b/w, 223 col., 2 tables b/w., 1 tables col. .*new ISBN 9782503607207. This book rediscovers the Antwerp painter Jan Massys (c.1510-1573) and his artistic milieu. / The painter Jan Massys (c. 1510-1573) trained under his father Quinten, succeeding him after his death (1530) at the head of Antwerp's most famous workshop. However, his career, destined for certain success, was abruptly cut short in 1544. Condemned for joining the Loysts sect, he had to flee Antwerp, finding refuge perhaps initially in France and at one point in Italy. Only in 1555 was he able to return to his homeland, regaining his artistic leadership within a few years. His oeuvre consists exclusively of works for private use and is characterized, in particular, by the depiction of elegant and seductive nude or half-naked female figures, protagonists of biblical or mythological subjects. The identification of the patron of the 1561 Venus with the view of Genoa (Stockholm, Nationalmuseum) in the person of the noble Genoese banker Ambrogio di Negro, offered the possibility of reconstructing the social context of the artist's clientele and his relations with those intellectuals ? both Genoese and Flemish-who gave life to the lively humanist academies of Antwerp. The figure emerges of a cultivated and particularly refined painter, who shared with his patrons the ideals of neo-Petrarchan poetry and executed paintings of great preciousness, characterized by a meticulous and skillful painting technique. TABLE OF CONTENTS Chapter 1 Johannes Massiis alias Quintens Chapter 2 A career of ups and downs Chapter 3 Jan Massys and female beauty Chapter 4 A varied painting technique for depicting beauty, lechery, and luxury Chapter 5 Inside Jan Massys? Workshop: good and not-so-good workshop practices Chapter 6 Inside Jan Massys Workshop: known and unknown assistants Chapter 7 ConclusionBIO Maria Clelia Galassi graduated in art history at the University of Genoa and obtained her PhD from the University of Milan. Since 2000 she is professor at the University of Genoa, where she teaches History of collecting and Technical Art History. She focused her researches on Flemish and Italian painting technique during the Early Modern Age, and in the artistic relationship between Genoa and the Netherlands in the 15th and 16th centuries. 1400 g.…

rilegato hardcover. Zustand: Very Good. Sovracopertina con lievissimi segni d'uso e del tempo, legatura e interno in ottimo stato. Book.

Rilegato. Zustand: nuovo. Pages: approx. 244 p. Illustrations:82 b/w, 223 col., 2 tables b/w., 1 tables col. Language(s):English. Publication Year:2024. Brepols. ISBN: 978-2-503-60720-7. Hardback --- SUMMARY The painter Jan Massys (c. 1510-1573) trained under his father Quinten, succeeding him after his death (1530) at the head of Antwerp's most famous workshop. However, his career, destined for certain success, was abruptly cut short in 1544. Condemned for joining the Loysts sect, he had to flee Antwerp, finding refuge perhaps initially in France and at one point in Italy. Only in 1555 was he able to return to his homeland, regaining his artistic leadership within a few years. His oeuvre consists exclusively of works for private use and is characterized, in particular, by the depiction of elegant and seductive nude or half-naked female figures, protagonists of biblical or mythological subjects. The identification of the patron of the 1561 Venus with the view of Genoa (Stockholm, Nationalmuseum) in the person of the noble Genoese banker Ambrogio di Negro, offered the possibility of reconstructing the social context of the artist's clientele and his relations with those intellectuals both Genoese and Flemish-who gave life to the lively humanist academies of Antwerp. The figure emerges of a cultivated and particularly refined painter, who shared with his patrons the ideals of neo-Petrarchan poetry and executed paintings of great preciousness, characterized by a meticulous and skillful painting technique. TABLE OF CONTENTS Chapter 1. Johannes Massiis alias Quintens Chapter 2. A career of ups and downs Chapter 3. Jan Massys and female beauty Chapter 4. A varied painting technique for depicting beauty, lechery, and luxury Chapter 5. Inside Jan Massys' Workshop: good and not-so-good workshop practices Chapter 6. Inside Jan Massys Workshop: known and unknown assistants Chapter 7. Conclusion Appendix 1 Appendix 2 Appendix 3.…