Gio. Benedetto Castiglione Genovese. Il Grechetto a Roma. Committenza e opere
Edited by Orlando Anna and Francesco Rotatori.
Genova, 2023; paperback, pp. 304, col. ill., cm 23x29.
cover price: € 150.00
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Books included in the offer:
Gio. Benedetto Castiglione Genovese. Il Grechetto a Roma. Committenza e opere
Edited by Orlando Anna and Francesco Rotatori.
Genova, 2023; paperback, pp. 304, col. ill., cm 23x29.
FREE (cover price: € 150.00)
Giovan Antonio Dosio Da San Gimignano Architetto e Scultor Fiorentino tra Roma, Firenze e Napoli
Edited by Emanuele Barletti.
Photographs by BACHerin Paolo and Saverio De Meo.
Prima edizione 2011.
Firenze, 2011; bound, pp. 844, b/w and col. ill., tavv., cm 24x28,5.
FREE (cover price: € 98.00)
Vincenzo Meucci
Co-Editore: Cassa di Risparmio di Firenze.
Firenze, 2015; hardback, pp. 304, col. ill., cm 25x29,5.
(Arte).
FREE (cover price: € 50.00)
Gherardo Bosio. Opera Completa 1927-1941
Firenze, 2016; paperback, pp. 368, b/w and col. ill., cm 23x28.
(Architetti del Novecento. Storia e archivi).
FREE (cover price: € 60.00)
Giandomenico Tiepolo (1727-1804). Ten Fantasy Portraits
Andres Ubeda de los Cobos
Fundación Juan March
Madrid, Fundación Juan March, February 1 -March 4, 2012.
English Text.
Madrid, 2012; paperback, pp. 63, ill., cm 17x23.
Other editions available: Spanish edition 84-7075-594-3
ISBN: 84-7075-595-1 - EAN13: 9788470755958
Subject: Painting
Languages:
Weight: 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.










