ruffini marco (36 resultados)

Pamphlet. Condición: Very Good. Vol 62, pp. 748-808, Photos, Extracted from orig vol, begins with title page, trimmed & stapled, thus is like a pamphlet else VG.

Paperback / softback. Condición: Good. Used copy in good condition - Usually dispatched within 3 working days.

Paperback. Condición: New.

Paperback. Condición: New.

Condición: Buone. italiano Condizioni dell'esterno: leggermente ingiallita ai contorni Condizioni dell'interno: ingiallite.

Paperback. Condición: New.

Paperback. Condición: Very Good. 1995 Claremont Colleges (Claremont, California), 6 7/8 x 8 1/2 inches tall paperbound in color covers, copiously illustrated with black-and-white photographs, [4], 156 pp. Slight creasing to lower half of front cover. Otherwise, a very good to near fine copy - clean, bright and unmarked - of this scarce collection of works. ~SP46~ [1.5P] A collection of five works of interest to the study of theatre: Hastrup, Incorporated Knowledge; Jenkins, Bacchanalian Hieroglyphs; De Marinis, The Mask and Corporeal Expression in 20th Century Theatre; Varley, The Pre-Expressive Family; Ruffini, Mime, The Actor, Action: The Way of Boxing; Pronko, Two Salomes and a Kabuki Montage: On Rereading A Dictionary of Theatre Anthropology; Leabhart, The Mask as Shamanic Tool in the Theatre Training of Jacques Copeau; De Marinis, From Pre-Expressivity to the Dramaturgy of the Performer: An Essay on the Paper Canoe.

flessibile. Condición: Ottimo (Fine). 223 p., f.to cm 21x12,5, brossura. Ottimo stato: copertina con lievi segni del tempo, rilegatura e pagine come nuovo. Book.

Condición: New.

Paperback. Condición: New. Why is the history of art so often construed as a history of artists, when its alleged focus is art? This book responds to this question by examining Giorgio Vasari's Lives and the artist it features most centrally, Michelangelo. Printed in Florence in 1550 and republished in a substantially enlarged form in 1568, the Lives is a compendium of biographies of the most noteworthy artists, from the late Middle Ages to Vasari's time. Perhaps no other text has exerted such a formidable influence on the discipline of art history, shaping its historical and conceptual categories-principally as an effect of its biographical format and the biological model it follows, charting artistic development from birth through decline. More than any other artist in the Lives, Michelangelo exemplifies art as an expression of the individual. Yet at the same time, as this book aims to show, the Lives fashions Michelangelo as the founder of a new academic era in which art develops collectively as a discipline. Paradoxically, Vasari's celebration of Michelangelo mobilizes a conception of art as teachable and transmissible that is antithetical to Michelangelo's aesthetic ideals and unique style. Each of the five chapters of this book examines the notion of "art without an author," whereby art is teachable and not the inimitable product of a genius, or a corporate rather than an individualistic venture. By tracing Vasari's transformation of Michelangelo from an artist into a figure who legitimates a new age in art, the book bridges a longstanding dichotomy in our understanding not only of Vasari but also of Renaissance culture and art. The claims Art Without an Author makes are integrally supported by art historical research and textual/philological analysis. By way of close study, this book reaches entirely new conclusions about Michelangelo, the production and significance of Vasari's Lives, and the role "authorial" values play in Italian Renaissance culture.

Condición: As New. Unread book in perfect condition.

Condición: New.

Condición: New.

Hardback. Condición: New. Why is the history of art so often construed as a history of artists, when its alleged focus is art? This book responds to this question by examining Giorgio Vasari's Lives and the artist it features most centrally, Michelangelo. Printed in Florence in 1550 and republished in a substantially enlarged form in 1568, the Lives is a compendium of biographies of the most noteworthy artists, from the late Middle Ages to Vasari's time. Perhaps no other text has exerted such a formidable influence on the discipline of art history, shaping its historical and conceptual categories-principally as an effect of its biographical format and the biological model it follows, charting artistic development from birth through decline. More than any other artist in the Lives, Michelangelo exemplifies art as an expression of the individual. Yet at the same time, as this book aims to show, the Lives fashions Michelangelo as the founder of a new academic era in which art develops collectively as a discipline. Paradoxically, Vasari's celebration of Michelangelo mobilizes a conception of art as teachable and transmissible that is antithetical to Michelangelo's aesthetic ideals and unique style. Each of the five chapters of this book examines the notion of "art without an author," whereby art is teachable and not the inimitable product of a genius, or a corporate rather than an individualistic venture. By tracing Vasari's transformation of Michelangelo from an artist into a figure who legitimates a new age in art, the book bridges a longstanding dichotomy in our understanding not only of Vasari but also of Renaissance culture and art. The claims Art Without an Author makes are integrally supported by art historical research and textual/philological analysis. By way of close study, this book reaches entirely new conclusions about Michelangelo, the production and significance of Vasari's Lives, and the role "authorial" values play in Italian Renaissance culture.

Paperback. Condición: New.

8°, paperback, Broschiert. Auflage: Illustrated. VIII, S. 201 - 247 Einband leicht bestossen, sonst sehr gut erhalten. Sprache: Italienisch Gewicht in Gramm: 220.

Condición: As New. Unread book in perfect condition.

Condición: New.

Hardcover. Condición: Brand New. 184 pages. 9.00x6.00x9.00 inches. In Stock.

Paperback. Condición: New. Why is the history of art so often construed as a history of artists, when its alleged focus is art? This book responds to this question by examining Giorgio Vasari's Lives and the artist it features most centrally, Michelangelo. Printed in Florence in 1550 and republished in a substantially enlarged form in 1568, the Lives is a compendium of biographies of the most noteworthy artists, from the late Middle Ages to Vasari's time. Perhaps no other text has exerted such a formidable influence on the discipline of art history, shaping its historical and conceptual categories-principally as an effect of its biographical format and the biological model it follows, charting artistic development from birth through decline. More than any other artist in the Lives, Michelangelo exemplifies art as an expression of the individual. Yet at the same time, as this book aims to show, the Lives fashions Michelangelo as the founder of a new academic era in which art develops collectively as a discipline. Paradoxically, Vasari's celebration of Michelangelo mobilizes a conception of art as teachable and transmissible that is antithetical to Michelangelo's aesthetic ideals and unique style. Each of the five chapters of this book examines the notion of "art without an author," whereby art is teachable and not the inimitable product of a genius, or a corporate rather than an individualistic venture. By tracing Vasari's transformation of Michelangelo from an artist into a figure who legitimates a new age in art, the book bridges a longstanding dichotomy in our understanding not only of Vasari but also of Renaissance culture and art. The claims Art Without an Author makes are integrally supported by art historical research and textual/philological analysis. By way of close study, this book reaches entirely new conclusions about Michelangelo, the production and significance of Vasari's Lives, and the role "authorial" values play in Italian Renaissance culture.

Hardback. Condición: New. Why is the history of art so often construed as a history of artists, when its alleged focus is art? This book responds to this question by examining Giorgio Vasari's Lives and the artist it features most centrally, Michelangelo. Printed in Florence in 1550 and republished in a substantially enlarged form in 1568, the Lives is a compendium of biographies of the most noteworthy artists, from the late Middle Ages to Vasari's time. Perhaps no other text has exerted such a formidable influence on the discipline of art history, shaping its historical and conceptual categories-principally as an effect of its biographical format and the biological model it follows, charting artistic development from birth through decline. More than any other artist in the Lives, Michelangelo exemplifies art as an expression of the individual. Yet at the same time, as this book aims to show, the Lives fashions Michelangelo as the founder of a new academic era in which art develops collectively as a discipline. Paradoxically, Vasari's celebration of Michelangelo mobilizes a conception of art as teachable and transmissible that is antithetical to Michelangelo's aesthetic ideals and unique style. Each of the five chapters of this book examines the notion of "art without an author," whereby art is teachable and not the inimitable product of a genius, or a corporate rather than an individualistic venture. By tracing Vasari's transformation of Michelangelo from an artist into a figure who legitimates a new age in art, the book bridges a longstanding dichotomy in our understanding not only of Vasari but also of Renaissance culture and art. The claims Art Without an Author makes are integrally supported by art historical research and textual/philological analysis. By way of close study, this book reaches entirely new conclusions about Michelangelo, the production and significance of Vasari's Lives, and the role "authorial" values play in Italian Renaissance culture.

Hardcover. Condición: Brand New. 2nd edition. 208 pages. 9.02x5.98x0.12 inches. In Stock.

Condición: As New. Unread book in perfect condition.

Hardcover. Condición: Like New. LIKE NEW. SHIPS FROM MULTIPLE LOCATIONS. book.

Condición: As New. Unread book in perfect condition.

Paperback. Condición: New.

Hardcover. Condición: New.

Bross., cm 21,5 x 15,5, pp 414, molte tavv. e ill. in b/n. - ISBN: 9788885795440.

Condición: NEW. Campisano Editore, 2022 9788885795853 Studium. Ricerche di storia dell'arte 2 240 p., ill. 2,1 cm.

Condición: NEW. Roma: Campisano Editore, 2023 9791280956231 Studium. Ricerche di storia dell'arte 5 1409 552 p. : ill. col. b/n, indice, biografia, bibliografia ; 22 cm. Nella Roma dei primi decenni del Seicento il dibattito critico intorno alla pittura fu straordinariamente vivace, e ad animarlo, prima ancora di teorici quali Giovanni Battista Agucchi e Giulio Mancini, erano gli artisti. Fin dal suo esordio nell'Urbe, nel 1600, Guido Reni fu uno dei protagonisti di quel palcoscenico, proponendo la propria visione teorica della pittura attraverso alcuni capolavori che erano anche programmatiche dichiarazioni d'intenti. Attraverso queste il pittore bolognese costrui? la propria identita? di artista, ben distinta non solo da quella di Caravaggio, ma anche da quelle di Annibale Carracci e del suo maggiore allievo, Domenichino; e, poi, da quella di Guercino. Questo libro punta a ricostruire la teoria artistica di Guido seguendone l'evoluzione stilistica, a partire dall'analisi dei suoi dipinti piu? significativi, letti nel quadro delle controversie contemporanee, in un dialogo serrato con le fonti della letteratura artistica seicentesca, da Francesco Scannelli a Giovan Pietro Bellori.