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
|
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)
Jheronimus Bosch. Conservation and Restoration. From Former Glory to Changing Appearances
Luuk Hoogstede
Brepols Publishers
English Text.
Turnhout, 2025; 2 vols., bound, pp. 312, 302 col. ill., cm 22x28.
ISBN: 2-503-61868-5 - EAN13: 9782503618685
Subject: Essays (Art or Architecture),Monographs (Painting and Drawing),Painting
Period: 1400-1800 (XV-XVIII) Renaissance
Languages:
Weight: 0 kg
The old master paintings we see today do not correspond to what the artist saw. Pictures change over time, often dramatically. This book unravels this phenomena for Jheronimus Bosch. It provides fundamentally new insights into the making of his paintings and into what has changed since then, which has significant consequences for their interpretation. This publication also compares how conservators deal with altered appearances. Strikingly, conservators determine how a painting can be seen and interpreted, by removing old ambiguities and by uncovering and unifying original elements. Even treatment of the reverse, the panel support, shows to impact the painted side. Contrary to common belief however, conservators do not restore pictures to their former glory. What does this mean for Bosch's paintings?










