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)
Renata Boero
Carlo Cambi Editore
Ischia, Castello Aragonese di Ischia, July 30 - September 25, 2011.
Edited by Pasquali M.
Italian and English Text.
Poggibonsi, 2012; paperback, pp. 180, b/w and col. ill., cm 21,5x28.
ISBN: 88-6403-099-9 - EAN13: 9788864030999
Subject: Essays (Art or Architecture),Monographs (Painting and Drawing)
Period: 1960- Contemporary Period
Languages:
Weight: 1.08 kg
The underlying structure of her work - what might be described as the grammar of her painting, recognized by all the critics and admirers of her art - is undoubtedly represented by the Cromogrammi (Chromograms), works produced from 1970 onwards and always present in her output. They are, in fact, a pictorial invention that she has neither abandoned nor concluded thanks to the semantic fullness and the countless combinatory potentialities they contain: in other words, they are a cornucopia from which, little by little, the artist judiciously allows flashes of light, echoes, tastes, pearls and perfumes to emerge.
What one is immediately aware of is the synaesthetic quality of these pictures that, still today, many years after they were painted, call to mind earth and nature.










