Felice Palma. Massa 1583-1625. Collezione / Collection.
Texts by Claudio Casini, Andrei Cristina, Ciarlo Nicola, Federici Fabrizio and Sara Ragni.
Italian and English Text.
Pontedera, 2024; bound in a case, pp. 289, b/w and col. ill., b/w and col. plates, cm 24,5x34.
(L'Oro Bianco. Straordinari Dimenticati. The White Gold Forgotten Masters).
cover price: € 160.00
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Books included in the offer:
Felice Palma. Massa 1583-1625. Collezione / Collection.
Texts by Claudio Casini, Andrei Cristina, Ciarlo Nicola, Federici Fabrizio and Sara Ragni.
Italian and English Text.
Pontedera, 2024; bound in a case, pp. 289, b/w and col. ill., b/w and col. plates, cm 24,5x34.
(L'Oro Bianco. Straordinari Dimenticati. The White Gold Forgotten Masters).
FREE (cover price: € 160.00)
Le botteghe del marmo
Italian and English Text.
Ospedaletto, 1992; bound, pp. 153, 10 b/w ill., 60 col. ill., cm 24x29.
(Immagine).
FREE (cover price: € 34.49)
Museo Stefano Bardini. I Bronzetti e gli Oggetti d'Uso in Bronzo
Edited by Nesi A.
Firenze, 2009; paperback, pp. 191, 102 b/w ill., 7 col. ill., cm 17x24,5.
(Museo Stefano Bardini).
FREE (cover price: € 30.00)
Bronzetti e Rilievi dal XV al XVIII Secolo
Bologna, 2015; 2 vols., bound in a case, pp. 729, ill., col. plates, cm 21,5x30,5.
FREE (cover price: € 90.00)
David Park. A Painter'S Life
Boas Nancy M.
University of California Press
Berkeley, 2012; paperback, pp. 377, ill., cm 17x24.
ISBN: 0-520-26841-5 - EAN13: 9780520268418
Subject: Monographs (Painting and Drawing)
Period: 1800-1960 (XIX-XX) Modern Period
Languages:
Weight: 1.05 kg
David Park (1911-1960), transplanted Bostonian turned ground-breaking West Coast painter, led the way in creating what became known as Bay Area Figurative Art - a daring move during the post-World War II years when abstract expressionism held sway. In this beautifully illustrated biography, compiled from comprehensive and sweeping interviews, Nancy Boas traces Park's resolute search for a new kind of figuration, one that would penetrate abstract expressionism's thickly layered surfaces and infuse them with human presence. Boas changes our understanding of Park as a painter, highlighting his strong influence on Richard Diebenkorn, Elmer Bischoff, and other artists at the California School of Fine Arts and the University of California, Berkeley. She plunges us into the lively 1940s and 1950s Bay Area art scene, pointing to Park's work as a bold alternative to the abstractions of Clyfford Still. As the book deepens our admiration for Park's figurative paintings, it affirms his stature as a major figure in American art, one who spurred the figurative impulse across the United States and abroad.










