gaurico pomponio (29 Ergebnisse)

Zustand: New.

Zustand: New. Idioma/Language: Español. La primera edición de este tratado, aparecido en Florencia en 1504, pertenece a un nuevo género de escritos sobre textos de arte, en un momento en el que el neoplatonismo permitía a un amplio público descubrir o formular lo que los artistas de orientación "técnica" de generaciones anteriores habían escondido u olvidado la inspiración, la luz-plena-de-gracia, la personalidad artística y, ante todo, la analogía entre el arte y el amor. Pero allí donde el arte-ciencia se mostraba insuficiente, otro modelo o ideal de la actividad artística se encontraba ya dispuesto: la retórica humanista. Nace así una nueva forma de los tratados de arte: ya no se escriben conjuntos de preceptos para los artesanos ni demostraciones de teoremas, exposiciones de métodos u observaciones ejemplares, sino diálogos destinados a un público culto. Pomponio Gaurico, práctico en las actividades de broncista y con taller propio, era sobre todo humanista de profesión, tomando la palabra en su diálogo para enseñar los rudimentos de la escultura a dos veteranos eruditos. Nos encontramos pues más cerca del Cortegiano de Castiglione que de la Prospectiva pingendi de Piero della Francesca, inaugurando Gáurico de este modo una nueva y sustancial etapa en la teoría de las artes. *** Nota: Los envíos a España peninsular, Baleares y Canarias se realizan a través de mensajería urgente. No aceptamos pedidos con destino a Ceuta y Melilla.

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

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

Zustand: Muy bien. 8vo. 378 pp. Muy buen estado.

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

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

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

Zustand: Como nuevo. 8vo. 378 pp. Encuadernación editorial con solapas. En impecable estado, como nuevo.

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

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

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

Zustand: Nuevo. La primera edición de este tratado, aparecido en Florencia en 1504, pertenece a un nuevo género de escritos sobre textos de arte, en un momento en el que el neoplatonismo permitía a un amplio público descubrir o formular lo que los artistas de orientación ?técnica? de generaciones anteriores habían escondido u olvidado ?la inspiración, la luz-plena-de-gracia, la personalidad artística y, ante todo, la analogía entre el arte y el amor. Pero allí donde el arte-ciencia se mostraba insuficiente, otro modelo o ideal de la actividad artística se encontraba ya dispuesto: la retórica humanista. Nace así una nueva forma de los tratados de arte: ya no se escriben conjuntos de preceptos para los artesanos ni demostraciones de teoremas, exposiciones de métodos u observaciones ejemplares, sino diálogos destinados a un público culto. Pomponio Gaurico, práctico en las actividades de broncista y con taller propio, era sobre todo humanista de profesión, tomando la palabra en su diálogo para enseñar los rudimentos de la escultura a dos veteranos eruditos. Nos encontramos pues más cerca del Cortegiano de Castiglione que de la Prospectiva pingendi de Piero della Francesca, inaugurando Gáurico de este modo una nueva y sustancial etapa en la teoría de las artes.Una obra indispensable para aprender los movimientos y fundamentos del estilo Yang tradicional, en la que el lector encontrará un programa básico de ejercicios ilustrados paso a paso que le ayudará a mantener en forma su mente y su cuerpo.

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

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

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

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

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

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

Sin especificar. Zustand: Nuevo.

Encuadernación de tapa blanda. Zustand: Bien. 1? Edición. Akal, 1989. La primera edición de este tratado, aparecido en Florencia en 1504, pertenece a un nuevo género de escritos sobre textos de arte, en un momento en el que el neoplatonismo permitía a un amplio público descubrir o formular lo que los artistas de orientación "técnica" de generaciones anteriores habían escondido u olvidado la inspiración, la luz-plena-de-gracia, la personalidad artística y, ante todo, la analogía entre el arte y el amor. Pero allí donde el arte-ciencia se mostraba insuficiente, otro modelo o ideal de la actividad artística se encontraba ya dispuesto: la retórica humanista. Nace así una nueva forma de los tratados de arte: ya no se escriben conjuntos de preceptos para los artesanos ni demostraciones de teoremas, exposiciones de métodos u observaciones ejemplares, sino diálogos destinados a un público culto. Pomponio Gaurico, práctico en las actividades de broncista y con taller propio, era sobre todo humanista de profesión, tomando la palabra en su diálogo para enseñar los rudimentos de la escultura a dos veteranos eruditos. Nos encontramos pues más cerca del Cortegiano de Castiglione que de la Prospectiva pingendi de Piero della Francesca, inaugurando Gáurico de este modo una nueva y sustancial etapa en la teoría de las artes. 378 pp. 17 x 12. Tapa blanda de editorial ilustrada. Sin subrayados ni anotaciones. Buen estado de conservación.

Zustand: New. In.

Zustand: New. In.

Zustand: New. In.

Zustand: New. In.

Zustand: NEW.

Zustand: Very Good. Second Printing. Octavo (16 cm) [64] leaves, signed a-h in 8s. Full-page "Charity" printer's device (thought to have been designed by Pieter Coecke van Aelst) on last page. Italic type. Title page elaborated at an early date in ink with image of a chalice or urn. Several ownership inscriptions in ink on title page. Marginal notes in manuscript on a4r and in lower margin of f3v. Manuscript note canceled on g6v. Bound in recent full calf with gilt and blind-tooled panels in period style, with author's name stamped in gilt on upper board. Pages somewhat toned, occasional stains.References: BM Dutch, p. 82. Pomponio Gaurico was the youngest of Giovanni Pontano's students, and the last to carry Pontano's Neapolitan brand of Humanism into the 16th century. (From 1512 he held the chair in Humanistic Studies at the University of Naples.) His treatise on bronze sculpture came out of his studies at the University of Padua, and was published at Florence in 1504. It was quickly recognized as a fundamental statement of art theory, written in elegant Latin (for which Pontano's students were justly famous). The second edition, offered here, was printed in Antwerp, Belgium. It is significant not only as an early printing of a perennial text, but as evidence of the spread of Italian humanism, with its principles of proportion, perspective, and ideal beauty, to Northern European artists and thinkers. It was one of the first books off the press of the young printer, Joannis Grapheus, relying on a text prepared by his brother, the humanist Cornelius Scribonius Grapheus, who had traveled in Italy and probably became familiar with Gaurico's work there. In a preface, Cornelius describes the text as "a rare bird, an uncommon treasure, a textbook useful not only for sculptors or painters, but also to all writers, whether they be poets or historians or philosophers. It is a book to be cherished in the heart, admired, redolent of antiquity and richly abounding in learning.".

Hardcover. Zustand: Very Good. 4to., (47) p.l. Bound in modern boards; minor repair on t-p, library stamp of the University of Jena on a2; generally excellent. Rare early edition of this famous work on the aesthetic theory of the plastic arts, which inaugurated a new conception of art historical criticism. Schlosser, who likens De sculptura to Lessing's Laokoon, thought very highly of Gaurico and begins his treatment of 16th century aesthetic theory with this work. The first edition, published in 1504, is considered the earliest of all treatises on the history of art. Midway between Alberti and Vasari, Gaurico's treatise documents the tremendous increase in cultural prestige which painting enjoyed during the fifteenth century: the incomparable outpouring of masterpieces that century witnessed stilled the old debates about the dignity of painting and its status as one of the liberal arts. This prestige is here reflected in art criticism, in its evolution away from a derivative form of natural philosophy (optics and applied physics) into a broader discipline, more in accord with a humanistic concept of culture, with its emphasis on history and informed evaluative judgement. Gaurico's treatise, devoted to bronze sculpture, is very much the culmination of this cultural shift. Although treating for the most part traditional technical questions (line, perspective etc.), he does so in a wide-ranging way. Its most notable contributions include the creation of a system of descriptive categories and a more formal consideration of physiognomy as a topic of aesthetic consideration. The work is also the principal source for many important biographical facts in the lives of artists. Gaurico's standard of taste is basically that of the cultivated humanist of the day with a penchant for stylish classicizing (Mantegna). The work first appeared in 1504 (Florence), and again in 1528 (Antwerp); it proved particularly popular in German-speaking countries, as this imprint from the home of Dürer attests. All early editions are quite rare. The work became an instant "classic" in aesthetics and was often anthologized into the 17th century. Pomponio Gaurico (1482-1530) was Prof. of Philology at the University of Naples, poet and humanist par excellence. His brother Luca was a celebrated mathematician, and made an influential Latin translation of Peckham's treatise on perspective. In the best Renaissance tradition, Pomponio had a reputation as a lady's man, and is believed to a have been murdered by the family of some scorned innamorata! * Schlosser, 235-239; M. Kemp, The Science of Art, pp. 40-41; R. Klein, "Pomponius Gauricus on Perspective," The Art Bulletin 43 (1961) 211-30.

S.l. (Antwerp ?), no publisher (Plantin-Moretus Press ?) , 1609 (for the first two parts), 1601 (for the third part). Format in-4°, (22,5 x 17 cm), Engraved title page (triple title within pictorial renaissance style border) +(18)nn pp + 174 pp (Gaurico text) + (2)nn pp (blank) + (24) nn pp + 16 pp + engraved title page + engraved portrait + 98 full page engraved plates each with 2 ills. + 49 plates eeach with 4 ills. Bound in contemporary full vellum, gilt decorated spine with a trace of the missing title label. Vellum a bit soiled but still a fine copy with a nearly stainless interior., This is the second edition of Goorle's book on his collection of antique Roman cameo rings; enlarged with a text by Gaurico and one by Demontosius. Similarly to the first edition also published without a place of imprint nor a printer's name. The title page of this edition is a reworked plate of the first edition; the year 1609 and titles of the 2 added works were included in the title text. We compared this so-called second edition with the first edition (presumably printed in 1601) and can confirm that for this second ''imprint'' the left-over sheets of the first imprint were used, with the addition of 12 plates at the end (ills.numbered 149 - 196). All the dedications and privileges of the first edition are included. Apart from the two added text (Gurico & Demontosius) the only new element is a laudatory text by Matthias Martini, written in Antwerp and dated April 1607.This addition made to the second edition makes it very likely that both editions were printed in Antwerp. A study of the nice initials (36 x 36 mm) will allmost certainly revail the Antwerp printer (Moretus ?). The reason for the concealment of the printer's name may be found in the bitter religeous struggle which was raging in the Netherlands. Goorle, of Antwerp descent was in the service of the stadthouder Adolf van Nieuwenaar in Utrecht but also befriended with Ernest of Bavaria, Prince-elector archbishop of Cologne, bischop of Liège, an ardent supporter of the Counter-reformation.