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DEAL OF THE DAY

Arturo Martini. I capolavori

Treviso, Museo “luigi Bailo”, March 31 - July 30, 2023.
Edited by Stringa Nico and Fabrizio Malachin.
Cornuda, 2023; paperback, pp. 278, col. ill., cm 23x29.

cover price: € 33.00

Arturo Martini. I capolavori

Total price: € 33.00 € 97.00 add to cart carrello

Books included in the offer:

Arturo Martini. I capolavori

Treviso, Museo “luigi Bailo”, March 31 - July 30, 2023.
Edited by Stringa Nico and Fabrizio Malachin.
Cornuda, 2023; paperback, pp. 278, col. ill., cm 23x29.

FREE (cover price: € 33.00)

Arturo Martini. I capolavori

Studi su Arturo Martini. Per Ofelia

Edited by Matteo Ceriana and Claudia Gian Ferrari.
Milano, Atti del Covegno, 19 maggio 2008.
Milano, 2009; paperback, pp. 136, 97 b/w ill., cm 17x24.

FREE (cover price: € 29.00)

Studi su Arturo Martini. Per Ofelia

Canova. L'invenzione della gloria. Disegni, dipinti e sculture.

Genova, Palazzo Reale, April 16 - July 24, 2016.
Edited by Giuliana Ericani and Franceasco Leone.
Roma, 2016; paperback, pp. 306, col. ill., col. plates, cm 23x30.

FREE (cover price: € 35.00)

Canova. L'invenzione della gloria. Disegni, dipinti e sculture.

chiudi

The Waterfall Project. [Ed. Italiana/Inglese]

Damiani

Italian and English Text.
Bologna, 2008; bound, pp. 40, ill., 40 col. plates, cm 24x34.

ISBN: 88-6208-052-2 - EAN13: 9788862080521

Subject: Collections,Gardens and Parks,Photography

Period: 1960- Contemporary Period

Places: Out of Europe

Languages:  english, italian text   english, italian text  

Weight: 1.16 kg


Olivo Barbieri is back with a new photographic project on the world's greatest waterfalls: from Victoria Falls (on the border between Zambia and Zimbabwe) to Iguazu (between Argentina and Brasil), from Khone Papeng (Laos/Cambodia) to Niagara Falls (Usa/Canada), The Waterfall Project presents a selection of massive water systems with their imposing, incessant energy flows, which - as usual - Barbieri portrays exclusively from an aerial perspective.
Critic Walter Guadagnini writes in the introduction: "There is an evident technical expedient in this, and it is the choice to photograph from above, to place oneself in a privileged and anomalous condition. In the past, this expedient already gave rise to numerous readings, which range from acknowledging the historical roots of this perspective (going back all the way to Nadar's photographs from a hot-air balloon) up to the socio-political implications deriving from 9/11".

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