Aldovini laura (30 resultados)

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: new.

Condición: New.

Hardcover. Condición: new. Hardcover. A landmark study of an underappreciated printmaking technique the woodcut exploring its explosion in popularity and subsequent fall from favour. The woodcut technique was notably popular during the Italian Renaissance, when artists would create designs for specialist cutters to transform into woodcuts for printing. This publication explains the regional differences in the production of woodcuts, highlighting the leading schools, designers and cutters, and charts how and why such a flourishing aspect of Italian print production declined so quickly in favour of engraving. The technical requirements behind cutting into a block of wood and foreseeing what would be printed in relief were formidable, a challenge that attracted first-rate artists. The medium inspired designs of extraordinary ingenuity and beauty across a broad range of subjects, such as landscapes, mythology, devotional images and imagined portraits. Some of the resulting prints were on a spectacular scale, such as Titians Submersion of the Pharaohs Army in the Red Sea, which is over 2 metres long. With a few exceptions, woodcuts fell out of favour after the mid-sixteenth century, when the medium became confined to the cheap, popular end of the print market and was neglected by collectors. This change in status means that many works in the Museums collection are either the sole surviving examples or one of just a handful. This generously illustrated book focuses on a little-studied aspect of Italian printmaking, exploring stunning works in generous detail to reveal their hidden depths. A landmark study of an underappreciated printmaking technique - the woodcut - exploring its explosion in popularity and subsequent fall from favour. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Hardback. Condición: New. A landmark study of an underappreciated printmaking technique - the woodcut - exploring its explosion in popularity and subsequent fall from favour. The woodcut technique was notably popular during the Italian Renaissance, when artists would create designs for specialist cutters to transform into woodcuts for printing. This publication explains the regional differences in the production of woodcuts, highlighting the leading schools, designers and cutters, and charts how and why such a flourishing aspect of Italian print production declined so quickly in favour of engraving. The technical requirements behind cutting into a block of wood and foreseeing what would be printed in relief were formidable, a challenge that attracted first-rate artists. The medium inspired designs of extraordinary ingenuity and beauty across a broad range of subjects, such as landscapes, mythology, devotional images and imagined portraits. Some of the resulting prints were on a spectacular scale, such as Titian's Submersion of the Pharaoh's Army in the Red Sea, which is over 2 metres long. With a few exceptions, woodcuts fell out of favour after the mid-sixteenth century, when the medium became confined to the cheap, popular end of the print market and was neglected by collectors. This change in status means that many works in the Museum's collection are either the sole surviving examples or one of just a handful. This generously illustrated book focuses on a little-studied aspect of Italian printmaking, exploring stunning works in generous detail to reveal their hidden depths.…

Condición: New.

Condición: New.

Hardcover. Condición: Brand New. 288 pages. 10.04x9.33x1.14 inches. In Stock.

Condición: Ottime. italiano Condizioni dell'esterno: Ottime Condizioni dell'interno: Ottime.

paperback. Condición: New. Catalogo della mostra tenuta a Pavia, Scuderie del Castello Visconteo, 17 marzo - 1 luglio 2012 e a Trieste, Scuderie del Castello di Miramare, 7 luglio - 7 ottobre 2012 . Brossura originale, 95 pagine profusamente illustrate a colori e in nero nel testo. Libro in condizioni di nuovo. SPEDIZIONE IN 24 ORE DALLA CONFERMA DELL'ORDINE. Book.…

Condición: NEW.

Hardcover. Condición: new. Hardcover. A landmark study of an underappreciated printmaking technique - the woodcut - exploring its explosion in popularity and subsequent fall from favour. The woodcut technique was notably popular during the Italian Renaissance, when artists would create designs for specialist cutters to transform into woodcuts for printing. This publication explains the regional differences in the production of woodcuts, highlighting the leading schools, designers and cutters, and charts how and why such a flourishing aspect of Italian print production declined so quickly in favour of engraving. The technical requirements behind cutting into a block of wood and foreseeing what would be printed in relief were formidable, a challenge that attracted first-rate artists. The medium inspired designs of extraordinary ingenuity and beauty across a broad range of subjects, such as landscapes, mythology, devotional images and imagined portraits. Some of the resulting prints were on a spectacular scale, such as Titian's Submersion of the Pharaoh's Army in the Red Sea, which is over 2 metres long. With a few exceptions, woodcuts fell out of favour after the mid-sixteenth century, when the medium became confined to the cheap, popular end of the print market and was neglected by collectors. This change in status means that many works in the Museum's collection are either the sole surviving examples or one of just a handful. This generously illustrated book focuses on a little-studied aspect of Italian printmaking, exploring stunning works in generous detail to reveal their hidden depths. A landmark study of an underappreciated printmaking technique - the woodcut - exploring its explosion in popularity and subsequent fall from favour. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…

Condición: NEW.

Pavia,Scuderie del Castello Visconteo,17 marzo-1 luglio 2012. Trieste, Scuderie del Castello di Miramare 7 luglio - 7 ottobre 2012. In-8,legatura editoriale illustrata in cartoncino leggero,pp.95 ed illustrazioni in bianco e nero nel testo.Ottimo esemplare.

Condición: New.

Buch. Condición: Neu. Neuware - A landmark study of an underappreciated printmaking technique - the woodcut - exploring its explosion in popularity and subsequent fall from favour. The woodcut technique was notably popular during the Italian Renaissance, when artists would create designs for specialist cutters to transform into woodcuts for printing. This publication explains the regional differences in the production of woodcuts, highlighting the leading schools, designers and cutters, and charts how and why such a flourishing aspect of Italian print production declined so quickly in favour of engraving. The technical requirements behind cutting into a block of wood and foreseeing what would be printed in relief were formidable, a challenge that attracted first-rate artists. The medium inspired designs of extraordinary ingenuity and beauty across a broad range of subjects, such as landscapes, mythology, devotional images and imagined portraits. Some of the resulting prints were on a spectacular scale, such as Titian's Submersion of the Pharaoh's Army in the Red Sea, which is over 2 metres long. With a few exceptions, woodcuts fell out of favour after the mid-sixteenth century, when the medium became confined to the cheap, popular end of the print market and was neglected by collectors. This change in status means that many works in the Museum's collection are either the sole surviving examples or one of just a handful. This generously illustrated book focuses on a little-studied aspect of Italian printmaking, exploring stunning works in generous detail to reveal their hidden depths.…

Hardback. Condición: New. A landmark study of an underappreciated printmaking technique - the woodcut - exploring its explosion in popularity and subsequent fall from favour. The woodcut technique was notably popular during the Italian Renaissance, when artists would create designs for specialist cutters to transform into woodcuts for printing. This publication explains the regional differences in the production of woodcuts, highlighting the leading schools, designers and cutters, and charts how and why such a flourishing aspect of Italian print production declined so quickly in favour of engraving. The technical requirements behind cutting into a block of wood and foreseeing what would be printed in relief were formidable, a challenge that attracted first-rate artists. The medium inspired designs of extraordinary ingenuity and beauty across a broad range of subjects, such as landscapes, mythology, devotional images and imagined portraits. Some of the resulting prints were on a spectacular scale, such as Titian's Submersion of the Pharaoh's Army in the Red Sea, which is over 2 metres long. With a few exceptions, woodcuts fell out of favour after the mid-sixteenth century, when the medium became confined to the cheap, popular end of the print market and was neglected by collectors. This change in status means that many works in the Museum's collection are either the sole surviving examples or one of just a handful. This generously illustrated book focuses on a little-studied aspect of Italian printmaking, exploring stunning works in generous detail to reveal their hidden depths.…

Condición: New.

Hardcover. Condición: new. Hardcover. A landmark study of an underappreciated printmaking technique the woodcut exploring its explosion in popularity and subsequent fall from favour. The woodcut technique was notably popular during the Italian Renaissance, when artists would create designs for specialist cutters to transform into woodcuts for printing. This publication explains the regional differences in the production of woodcuts, highlighting the leading schools, designers and cutters, and charts how and why such a flourishing aspect of Italian print production declined so quickly in favour of engraving. The technical requirements behind cutting into a block of wood and foreseeing what would be printed in relief were formidable, a challenge that attracted first-rate artists. The medium inspired designs of extraordinary ingenuity and beauty across a broad range of subjects, such as landscapes, mythology, devotional images and imagined portraits. Some of the resulting prints were on a spectacular scale, such as Titians Submersion of the Pharaohs Army in the Red Sea, which is over 2 metres long. With a few exceptions, woodcuts fell out of favour after the mid-sixteenth century, when the medium became confined to the cheap, popular end of the print market and was neglected by collectors. This change in status means that many works in the Museums collection are either the sole surviving examples or one of just a handful. This generously illustrated book focuses on a little-studied aspect of Italian printmaking, exploring stunning works in generous detail to reveal their hidden depths. A landmark study of an underappreciated printmaking technique - the woodcut - exploring its explosion in popularity and subsequent fall from favour. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Hardback. Condición: New. A landmark study of an underappreciated printmaking technique - the woodcut - exploring its explosion in popularity and subsequent fall from favour. The woodcut technique was notably popular during the Italian Renaissance, when artists would create designs for specialist cutters to transform into woodcuts for printing. This publication explains the regional differences in the production of woodcuts, highlighting the leading schools, designers and cutters, and charts how and why such a flourishing aspect of Italian print production declined so quickly in favour of engraving. The technical requirements behind cutting into a block of wood and foreseeing what would be printed in relief were formidable, a challenge that attracted first-rate artists. The medium inspired designs of extraordinary ingenuity and beauty across a broad range of subjects, such as landscapes, mythology, devotional images and imagined portraits. Some of the resulting prints were on a spectacular scale, such as Titian's Submersion of the Pharaoh's Army in the Red Sea, which is over 2 metres long. With a few exceptions, woodcuts fell out of favour after the mid-sixteenth century, when the medium became confined to the cheap, popular end of the print market and was neglected by collectors. This change in status means that many works in the Museum's collection are either the sole surviving examples or one of just a handful. This generously illustrated book focuses on a little-studied aspect of Italian printmaking, exploring stunning works in generous detail to reveal their hidden depths.…

Hardback. Condición: New.

Catalogo mostra Pavia, Scuderie del Castello Visconteo, 17 marzo - 1 luglio 2012; Trieste, Scuderie del Castello di Miramare, 7 luglio - 7 ottobre 2012, brossura, formato 24x28, pagine 95, illustrato, nuovo celofanato - 29205 9788836623457.

Cloth (Soft cover). Condición: Fine. 4to., original blue cloth with white lettering, pp. 289, [3], with many illustrations. Binding a little bumped; otherwise fine. Text in Italian.

Condición: Nuovo. Ril., cm 28,5x24,5, pp 95, 40 tavv a colori. - ISBN: 9788836623457.

Condición: NEW.

Brossura. Condición: new. A cura di Elsig F. e Gaggetta C. Roma, 2015; br., pp. 359, ill. b/n e col., cm 17x24. (Studi Lombardi. 7). Eletto duca di Milano nel 1450, Francesco Sforza inaugura una nuova dinastia che cerca di legittimare attraverso una politica culturale ispirata a quella della corte di Borgogna. Il gusto artistico di Filippo il Buono (1420-1467) e di Carlo il Temerario (1467-1477) impongono un rinnovamento della musica, della letteratura e della pittura che si diffonde in tutta Europa attraverso i canali diplomatici ed economici. Milano ricopre un ruolo essenziale nella ricezione e nella diffusione del modello borgognone in Italia, grazie ai suoi rapporti politici privilegiati con la Francia e il ducato di Savoia, che favoriscono l'acquisto di opere d'arte e il reclutamento di artisti, e grazie alla sua situazione geografica alle porte delle Alpi. Nel 1479, l'avvento di Ludovico il Moro determina un orientamento più italiano del gusto della corte sforzesca e l'attività di artisti quali Bramante e, soprattutto, Leonardo, contribuisce all'elaborazione di un modello lombardo che si diffonde a sua volta a nord delle Alpi e che permette di forgiare un'identità culturale propria al ducato. I diversi saggi che compongono il volume servono proprio a comprendere questi processi, le dinamiche della trasmissione di modelli nordici, la loro elaborazione da parte di artisti lombardi e settentrionali a contatto con l'arte leonardesca nella Milano sforzesca. Libro.…

Brossura. Condición: nuovo. prima edizione. Pavia, Scuderie del Castello Visconteo, 17 marzo - 1 luglio 2012. Trieste, Scuderie del Castello, 7 luglio - 7 ottobre 2012. Testi di Laura Aldovini, Susanna Zatti. Rembrandt realizzò circa 300 dipinti e oltre 290 incisioni, una produzione cospicua che senz'altro beneficiò della florida congiuntura socio-economica in cui l'artista era venuto a trovarsi, quella dell'evoluzione politica e religiosa che aveva investito i Paesi Bassi del Nord, dopo la separazione dal Sud (essenzialmente cattolico) nel 1584. Maggior libertà, aumento di ricchezza, moltiplicazione della committenza privata borghese, di contro a una diminuzione di quella sacra, ebbero come conseguenze dirette la nascita della figura del mercante d'arte e la vendita all'asta delle opere artistiche. Rembrandt si adattò perfettamente a questa rinnovata situazione, portando all'estremo l'individualità e la dignità dell'artista ed entrando senza riserve nel 'mercato dell'arte'. Valorizzò la libertà creativa dal punto di vista dell'inventio, ma anche della tecnica: di contro allo stile 'finito' della pittura di moda all'epoca, preferì un modus operandi che lo vedeva tornare di continuo sulle sue opere, sia pittoriche che incise. Primaria fonte d'ispirazione furono per lui i capolavori incisi dei suoi predecessori, tra gli altri Luca di Leyda, Pieter Brueghel, Albrecht Dürer, Andrea Mantegna, dei quali aveva moltissime stampe. Rispetto ai suoi contemporanei e agli artisti che lo precedettero, egli raggiunse peraltro una grande perizia tecnica nell'uso dell'acquaforte: univa segni di diversa profondità e spessore - attraverso morsure multiple - a un uso strategico della puntasecca e otteneva effetti particolari anche grazie alla stesura a pennello di acido diluito sulla lastra e al variare degli inchiostri e delle carte in fase di stampa. Il fine era quello di ottenere effetti di luce e profondità del tutto inusuali ma efficaci. L'elemento caratterizzante dell'arte di Rembrandt - per questo - è proprio la luce che bagna le sue composizioni incise, dove il nitore si contrappone diametralmente all'oscurità del buio reso con segni più o meno profondamente inchiostrati. Le incisioni di Rembrandt, fin dal XVII secolo, furono tra gli oggetti più ricercati: possedere un'opera del grande artista olandese divenne un obiettivo ambito da parte dei collezionisti più appassionati. E come i più rinomati amanti delle arti dell'epoca, anche il marchese Malaspina si adoperò per accaparrarsi un buon numero di pezzi del maestro: il nucleo di autografi rembrandtiani conservati oggi ai Musei Civici di Pavia è senza dubbio ragguardevole e permette di conoscere e apprezzare la produzione grafica dell'artista. Note alle condizioni del volume Nessuna. (T-CA) Autore/i a cura di Laura Aldovini Editore Silvana Editoriale Luogo Milano Anno 2012 Pagine 96 Dimensioni 24x29x1 (cm) Illustrazioni 45 ill. a colori - colors ills Legatura brossura olandese - paperback Conservazione Nuovo - New Lingua Italiano - Italian text Peso 1000 (gr) ISBN 883662345X EAN-13 9788836623457.…

Condición: new.

Condición: NEW. Roma: Viella, 2014 9788867283507 Studi lombardi 7 1105 359 p. : indice ; 25 cm. Eletto duca di Milano nel 1450, Francesco Sforza inaugura una nuova dinastia che cerca di legittimare attraverso una politica culturale ispirata a quella della corte di Borgogna. Il gusto artistico di Filippo il Buono (1420-1467) e di Carlo il Temerario (1467-1477) impongono un rinnovamento della musica, della letteratura e della pittura che si diffonde in tutta Europa attraverso i canali diplomatici ed economici. Milano ricopre un ruolo essenziale nella ricezione e nella diffusione del modello borgognone in Italia, grazie ai suoi rapporti politici privilegiati con la Francia e il ducato di Savoia, che favoriscono l'acquisto di opere d'arte e il reclutamento di artisti, e grazie alla sua situazione geografica alle porte delle Alpi. Nel 1479, l'avvento di Ludovico il Moro determina un orientamento più italiano del gusto della corte sforzesca e l'attività di artisti quali Bramante e, soprattutto, Leonardo, contribuisce all'elaborazione di un modello lombardo che si diffonde a sua volta a nord delle Alpi e che permette di forgiare un'identità culturale propria al ducato. I diversi saggi che compongono il volume servono proprio a comprendere questi processi, le dinamiche della trasmissione di modelli nordici, la loro elaborazione da parte di artisti lombardi e settentrionali a contatto con l'arte leonardesca nella Milano sforzesca. Elsig,Frédéric - Gaggetta,Claudia.…

Hardback. Condición: New.