Germano giuseppe (23 Ergebnisse)

Zustand: MOLTO BUONO. NOTA:Aloni. / Roma, La Nuova Italia Scientifica cm.17x24, pp.220, brossura. Collana Salute/Formazione,4.

Paperback. Zustand: Brand New. 360 pages. Italian language. 8.46x5.31x0.90 inches. In Stock. Finocchiaro, Malia (illustrator).

Zustand: New. In English.

Gr.-8°, Original-Broschur. Zustand: Gut. 512 SS. Ecken ganz leicht bestoßen. Vortitel mit mehrzeiliger Widmung für den Philologen Ernst Vogt. Sonst sehr gutes Exemplar. Sprache: Deutsch Gewicht in Gramm: 550.

Reproductions of artist's drawings and photographs of his art works; paperback, 64 pp., 8° (21 x 26 cm), cover worn and dusty, hinge split, spine cracked, front endpaper and title page detached, condition: fair Book Language/s: German.

240x160mm, 215pagine, Ottime condizioni. Envois Europe : TVA inclus dans montant final. Exceptions taxes postales locales à la charge de l'acheteur (~2 EUR). Si nécéssaire, contact via notre page d'accueil / Shipping to Europe : VAT included in total amount. Local postal fees apply to buyers in Europe (~2 EUR). Contact us via our homepage if needed.…

Zustand: new.

softcover / stapled wrappers. Zustand: Sehr gut. [28] p. Sprache: Niederländisch Gewicht in Gramm: 133.

Brossura. Zustand: molto buono. prima edizione. Prima uscita dei "Quaderni dello studio V." di Vigevano, brossura, 40 pagine, illustrato in bianco e nero, misura 16x18 cm. Edito in 500 copie non numerate.

Zustand: BUONO USATO. Libri per l'economia ITALIANO Introduzione a cura di Giuseppe Cucchi. Numerosi altri autori hanno collaborato alla stesura del volume, elencati nelle prime pagine del libro. Rapporto Nomisma 2013-2014 sulle prospettive economico-strategiche. Brossura editoriale con risvolti leggermente stanca agli angoli e alle estremità del dorso. Pagine ben salde alla cerniera, con ampio margine, lievemente ingiallite, cosà come i tagli. Numero pagine 426.…

Paperback. Zustand: Brand New. multilingual edition. 488 pages. Italian language. 8.60x5.90x1.20 inches. In Stock.

Zustand: New. 2018. Paperback. . . . . . Books ship from the US and Ireland.

Soft cover. Zustand: Very Good. 1st Edition. Stapled wrappers (softcover), [28]p, ilustrations in colour and bl/w, 27 cm. Very good, light age-toning. Text in Dutch with summary in Italian. Added: supplement to the catalogue; [4] accordion-folded leaves, printed one-sided, with a reproduction of the wall drawing executed by the artist in situ in exhibition room 209. Supplement with some light creasing. Scarce.…

Zustand: NEW.

240x160mm, 453pagine, Ottimo stato. Envois Europe : TVA inclus dans montant final. Exceptions taxes postales locales à la charge de l'acheteur (~2 EUR). Si nécéssaire, contact via notre page d'accueil / Shipping to Europe : VAT included in total amount. Local postal fees apply to buyers in Europe (~2 EUR). Contact us via our homepage if needed.…

Zustand: New.

Encuadernación de tapa blanda. Zustand: Bien. Zustand des Schutzumschlags: Bien. ON LOCATION Germano Celant on Sculpture and painting in Emilio Vedova s studio in Venice. GROUND UP Herbert Muschamp on Architecture without architecture critics: ideal for the architects. TURNED OUT William Wilson on Richard Avedon, Sam Shepard, Joan Didion, and the pull of the American West. MODERN LIFE Carter Ratcliff on Utopianism become survivalism the quantum mechanics of body-building, in the West and in the East. LIKE ART Glenn O Brien on The new ads and their gift of art. Easel does it. BACKDROP Stuart Morgan on Photographs of the last resort, by Martin Parr. SPEAKER TO SPEAKER Greil Marcus on Charles Manson, Elvis Costello, and the LA sign system. BOOKS Frederic Tuten on Julian Barnes' Flaubert s Parrot. Feathers fly. COLUMNS FEATURES REVIEWS BACK TO THE FUTURE Donald Kuspit PARADISE GAINED Max Wechsler THE NEW ISAMU NOGUCHI GARDEN MUSEUM Shigeo Anzai A REFLECTION ON POST-MODERNISM Kate Linker A TALE OF THE GERMAN JEW Jean Fisher BILL BRANDT S DOCUMENTARY FICTIONS Charles Hagen THE ARROW IN THE MIND Italo Calvino PROJECT FOR ARTFORUM Glen Baxter COLUMNS FEATURES REVIEWS NEW YORK Glenn O Brien on Dennis Smith Glenn O Brien on David Kapp Glenn O Brien on Brion Gysin Jeanne Silverthorne on Mimmo Paladino Ronny Cohen on Luigi Ontani Barbara Kruger on Recoding Blackness: The Visual Rhetoric of Black Independent Film" Thomas McEvilley on Nicolas Moufarrege Charles Hagen on Tina Barney Patricia C. Phillips on Javier Bellosillo Patricia C. Phillips on Battery Park City Fine Arts Program John Howell on Perry Hoberman Jean Fisher on Barbara Ess Ida Panicelli on Komar and Melamid Donald Kuspit on Sue Coe HOUSTON Thomas McEvilley on Michael Heizer Ed Hill and Suzanne Bloom on Derek Boshier LOS ANGELES Susan C. Larsen on Raul Guerrero Melinda Wortz on Allen Ruppersberg LONDON Stuart Morgan on The Saatchi Collection PARIS Denys Zacharopoulos on Nouvelle Biennale de Paris Alexandra Anderson on Jean Le Gac ZURICH Max Wechsler on Mario Merz BARCELONA Gloria Moure on Rafael Canogar MADRID Aurora Garcia on María Gómez BREMEN/KARLSRUHE Annelie Pohlen on Volker Tannert STOCKHOLM Steven Henry Madoff on Olle Kåks.…

245x170mm, XCV - 243pagine, Copia nuova condizione. Envois Europe : TVA inclus dans montant final. Exceptions taxes postales locales à la charge de l'acheteur (~2 EUR). Si nécéssaire, contact via notre page d'accueil / Shipping to Europe : VAT included in total amount. Local postal fees apply to buyers in Europe (~2 EUR). Contact us via our homepage if needed.…

212 S. Kartoniert. 4°. Sauberes Exemplar ohne Stempel und Anstreichungen. Zahlreiche Abbildungen und Tafeln. Ecken minimal bestoßen. Innenseite des hinteren Buchdeckels minimal berieben. Sonst gut erhalten. Sprache: ita.

240 pp.; 22.5 x 20.5 cm.; sewn bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed "This book does not aim at being an objective and general analysis of the phenomenon of art or life, but is rather an attempt to flank (both art and life) as accomplices of the changes and attitudes in the development of their daily becoming. This book does not attempt to be objective since the awareness of objectivity is false consciousness. The book, made up of photographs and written documents, bases its critical and editorial assumptions on the knowledge that criticism and iconographic documents give limited vision and partial perception of artistic work. The book, when it reproduces the documents of artistic work, refutes the linguistic mediation of photography. The book, even though it wants to avoid the logic of consumption, is a consumer's item. . This book produces a collection of already old material. . In this book there is no need to reflect in order to seek a unitary and reassuring value, immediately refuted by the the authors themselves, rather there is the necessity to look into it for the changes, limits, precariousness and instability of artistic work." -- text from Celant's introduction "Stating That." Includes artists Walter de Maria, Michelangelo Pisteletto, Stephen Kaltenbach, Richard Long, Mario Merz, Douglas Huebler, Joseph Beuys, Eva Hesse, Michael Heizer, Ger van Elk, Lawrence Weiner, Luciano Fabro, Bruce Nauman, Joseph Kosuth, Jan Dibbets, Giovanni Anselmo, Robert Barry, Pier Paolo Calzolari, Dennis Oppenheim, Barry Flanagan, Robert Smithson, Giulio Paolini, Reiner Ruthenbeck, Alighiero Boetti, Giuseppe Penone, Franz Erhard Walther, Hans Haacke, Gilberto Zorio, Robert Morris, Marinus Boezem, Carl Andre, Emilio Prini, Richard Serra. Text in Italian. Fair / Good. Two 3 cm. tears to upper spine edge. Moderate rubbing and light yellowing of covers. Moderate Foxing on inside front and back covers and scattered throughout the interior. Name of previous owner in ink on first free inside page. 1 cm. dog ear to corner of folded interior of back cover.…

Softcover. Zustand: Befriedigend. unpag., zahl. ganzs s/w Abb., kart., 24,5 x 22,5 cm. Einband locker. Einige Blätte vom Einband gelöst. Vorhandene Inserts: 4 Seiten Transparentpapier(Lawrence Weiner (p. 21), Hamish Fulton (p. 37), Stephen Kaltenbach (p. 41), Robert Barry (p. 125).

2. Torino, Galleria Accademia, 1973, in-8°, ca. 60 nn pp, original softcover, black/white and colour ills. Published on the occasion of an exhibition.

Padua: Nella Stamperia del Seminario, appresso Giovanni Manfré, 1714. Quarto (36.5 × 25 cm). Contemporary interim card boards, spine and joints covered with marbled paper; [28], 300 pp. with 4 large folding copper engravings (measuring up to 68 × 86 cm) and numerous woodcut initials and vignettes throughout the text. Wide-margined, untrimmed copy; the engraved plates, woodcut vignettes, and initials in strong impressions; handwritten ex libris affixed to front counterfold: "Paola Trotti Taverna"; one plate backed on the verso with a few narrow strips of laid paper; endpapers with a few minute wormholes; else a clean, very good copy. First and only edition of this detailed description and discussion of the multi-day theatrum sacrum held in Verona on the occasion of the coronation of a miraculous image of the Virgin Mary. Richly illustrated with large folding engraved plates, the work is concerned not only with a precise account of the events themselves, but also with theological discussions of the elaborate architectural, artistic, musical, and pyrotechnic displays, the iconographic allusions, the materials employed, and so forth. Among other contributions, the volume also contains the libretto of an oratorio performed during the festivities, as well as the discussion by one of the planners involved, who describes the construction of an ephemeral festival structure, a "never-before-seen apparatus" (nè pria veduto Apparato), in all of its particulars. Images of the Virgin with the Christ Child modeled on the revered statue at Loreto were widespread. Numerous such copies were venerated, including one in the Theatine church of Santa Maria della Giara in Verona. After similar coronations had taken place in many other locations, the Theatine Order in Verona likewise resolved to celebrate such a ceremony. A prerequisite was that the local image should likewise be of considerable antiquity, venerated by the population, and, above all, miraculous. An investigation therefore had to be initiated. A representative of the diocese heard witnesses concerning the "miraculous graces" (Grazie miracolose) obtained through the intercession of their "Most Blessed Advocate" (Beatissima loro Avvocata). Among the testimonies were numerous accounts of sudden healings that were said to have occurred after prayers before the image. The principal evidence for these miracles and for the veneration of the image consisted of the many votive offerings affixed within the chapel. These included not only garments, ornaments, pearls, and jewels (Vesti, Fregi, Perle, Gioie), but also representations in wax and silver of healed or afflicted body parts, including hands, feet, arms, and heads, some of which hung suspended from the ceiling. These votive offerings were regarded as testimony to successful intercession and thus as "symbols of victory" (Simboli di Vittoria) and "trophies of conquered illnesses" (trofei d'infermità debellata). In this way, the work opens with an insight into the popular piety manifested within the church interior, a phenomenon that, in this colorful diversity of objects made from a wide variety of materials and in many different forms, has largely disappeared today. The author also refers to the abundance of votive offerings as a "mosaic of graces" (Mosaico di Grazie). After the coronation had been approved and decided upon, the Theatines elaborated the plan for the multi-day festival, which took place from Sunday, November 3, to Thursday, November 7, 1709. The spectacle had not only a sacred but also a thoroughly secular purpose. People streamed in from other cities to satisfy the "holy curiosity of their senses" (santa curiosità de' loro Sensi), but above all, in order to "increase the wealth and revenues of Veronese families through commerce" (per arricchir col commerzio le loro Famiglie di patrimoni, e di rendite più pingui) at the market held at the same time. Elaborate celebrations were held in three churches: Santa Maria della Giara, San Nicolò, and San Biagio. The coronation liturgy itself took place in San Nicolò, but the festival began with a nighttime procession from San Biagio to Santa Maria della Giara to receive the figure. Described at length is the interplay between stationary and carried lights and the specially made vestments. Subsequently, the transfer of the sacred image to its coronation church was carried out with even greater splendor. The order of the processions, which included the clergy, the brotherhoods, and the musicians and singers, followed a strict hierarchy. Also taking part were boys and men dressed as angels, who carried torches, incense boats, and censers. Above all, considerable attention is given to the magnificent adornment of the Queen of Heaven (Regal Maestà). Not only were the nighttime streets illuminated by torches and candles, but they were also lined by soldiers in splendid uniforms who played music and held their weapons lowered. Sacred hymn singing and instrumental military music intertwined or alternated with one another. The procession and the transfer ceremonies in San Nicolò, which was also under the care of the Theatine Order, ended around four o'clock in the morning. The sixth chapter, which extends over forty pages, is devoted solely to the festival architecture designed specifically by Antonio and Andrea Zanoni for the coronation in San Nicolò. For "the most magnificent installations for an outstanding cult were required." Of the four folding plates, the largest (68 × 86 cm) conveys an impression of the Baroque splendor of this "never-before-seen apparatus" (nè pria veduto Apparato), this "most distinguished machinery" (più illustre Meccanica). The purpose of this "most superb apparatus" (superbissimo Apparato) was "to enchant all human faculties" (incantar tutte le Umane Potenze), transporting them into "astonishment" (Stupori) and "ecstasy" (Estasi). It took a month to erect the structure inside the church. Space was provided by the installat.…