Beato Angelico
Firenze, Palazzo Strozzi, 26 settembre 2025 - 25 gennaio 2026.
A cura di Carl Brandon Strehlke.
Testi di Stefano Casciu, Marco Mozzo, Angelo Tartuferi.
Venezia, 2025; ril., pp. 456, 300 ill. col., cm 24x29.
prezzo di copertina: € 80.00
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Beato Angelico
Firenze, Palazzo Strozzi, 26 settembre 2025 - 25 gennaio 2026.
A cura di Carl Brandon Strehlke.
Testi di Stefano Casciu, Marco Mozzo, Angelo Tartuferi.
Venezia, 2025; ril., pp. 456, 300 ill. col., cm 24x29.
OMAGGIO (prezzo di copertina: € 80.00)
Marche e Toscana. Terre di grandi maestri tra Quattro e Seicento
Ospedaletto, 2007; ril., pp. 320, ill. col., tavv. col., cm 25,5x29.
OMAGGIO (prezzo di copertina: € 77.00)
Segni dell'Eucarestia
A cura di M. Luisa Polichetti.
Ancona, Osimo, Loreto Jesi, Senigallia, Fabriano e Metelica, 23 giugno - 31 ottobre 2011.
Torino, 2011; br., pp. 221, ill. b/n e col., cm 24x28.
OMAGGIO (prezzo di copertina: € 32.00)
Giandomenico Tiepolo (1727-1804). Ten Fantasy Portraits
Andres Ubeda de los Cobos
Fundación Juan March
Madrid, Fundación Juan March, February 1 -March 4, 2012.
Testo Inglese.
Madrid, 2012; br., pp. 63, ill., cm 17x23.
Altre edizioni disponibili: Spanish edition 84-7075-594-3
ISBN: 84-7075-595-1 - EAN13: 9788470755958
Soggetto: Pittura
Testo in:
Peso: 0.2 kg
These ten paintings of great beauty, all of which are from a private collection, were in all likelihood conceived of as a series, given their stylistic unity, their identical size, and the similarity in the figures' dress and poses. They represent ten heads: two old, bearded men with an eastern air; and eight beautiful young women. They can all be dated to around 1768, during the artist's Spanish period. Strictly speaking, they are not true portraits; rather, these figures, wearing different adornments and striking various poses, do not represent real individuals but generic types with the characteristic features and attributes of a certain social, economic and intellectual group. Thus, the male portraits present their models in the manner of philosophers, wise, honorable men from an imagined Antiquity, while the portraits of young women, characterized by carefree and innocent charm, would seem to reflect an ideal paradigm of feminine beauty. Both types belong to a long and fruitful tradition in Venice: a genre that conjures up a world of the imagination whose roots are to be found in the seventeenth century, a type of painting whose master par excellence was Rembrandt himself.
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