zezza andrea (51 resultados)

Condición: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Condición: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

paperback. Condición: Used; Like New. Rome, 2011; Italian text; illustrated paper covers; French flaps; mild corner wear; 8vo, 7 3/4" to 9 3/4" tall; interior pages in like new condition; Interior is clean and unmarked; 564 pages; From the library of Thomas Willette, University of Michigan professor.

Condición: New. Bilingual edition NO-PA16APR2015-KAP.

Paperback. Condición: Very Good. Naples, 2010; Italian text; illustrated paper covers; mild corner wear; 8vo, 7 3/4" to 9 3/4" tall; interior is clean and unmarked; 318 pages; From the library of Thomas Willette, University of Michigan professor.

Condición: As New. Unread book in perfect condition.

Hardcover without dustjacket as issued, 296 pages; very good condition; crimps to corners of covers; otherwise clean and crisp; no internal marks. Foreign shipping may be extra.

Condición: New.

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

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

Condición: NEW.

Condición: New.

Hardback. Condición: New. After the season of the great Renaissance painters, the prestige of the figurative arts grew as never before in history. During the 16th century, the artist went from being a common craftsman to holding a status equal to that of the greatest intellectuals of his time. The relationship between poetry and painting was consolidated in the 17th century, and became close, even competitive, when artists and men of letters confronted each other with the same themes. In this framework, the great poetry of Giovan Battista Marino (Naples, 1569-1625) plays a fundamental role. His compositions are rich in visual suggestions, derived as much from direct contact with the art collections he visited during his itinerant life as from the memory of the images of the great artists of the past. The Galeria (1620), one of his most famous books, projects onto the walls of an imaginary gallery the names of the artists and works of art that marked the poet's courtly experience.

Hardcover. Condición: new. Hardcover. After the season of the great Renaissance painters, the prestige of the figurative arts grew as never before in history. During the 16th century, the artist went from being a common craftsman to holding a status equal to that of the greatest intellectuals of his time. The relationship between poetry and painting was consolidated in the 17th century, and became close, even competitive, when artists and men of letters confronted each other with the same themes. In this framework, the great poetry of Giovan Battista Marino (Naples, 1569-1625) plays a fundamental role. His compositions are rich in visual suggestions, derived as much from direct contact with the art collections he visited during his itinerant life as from the memory of the images of the great artists of the past. The Galeria (1620), one of his most famous books, projects onto the walls of an imaginary gallery the names of the artists and works of art that marked the poet's courtly experience. AUTHORS: Emilio Russo teaches Italian Literature at the 'Sapienza' Universita di Roma. His research focuses on Renaissance and Baroque authors (Ariosto, Tasso, Marino) and 19th century authors (Leopardi, Nievo). In the field of Marino he published Studi su Marino e Tasso (Antenore, 2005), Marino (Salerno Editrice, 2008), and edited the annotated edition of the Adone (Rizzoli, 2013). Patrizia Tosini is associate professor of History of Modern Art at Universita Roma Tre. His studies revolve around the figurative arts of the Counter-Reformation, in particular painting and drawing in Rome between the 16th and 17th centuries, a theme on which he has published numerous studies, including the monograph Girolamo Muziano. Dalla Maniera alla natura (Ugo Bozzi, 2008). Andrea Zezza is full professor of History of Modern Art at the University della Campania 'Luigi Vanvitelli'. He mainly deals with the history of art in southern Italy between the 16th and 18th centuries. For Officina Libraria he recently edited Raffaello. 500 anni dopo (2024). SELLING POINTS: . Catalogue of the exhibition to be held from 12 November 2024 to 9 February 2025 at the Galleria Borghese in Rome . An exhibition dedicated to Giovan Battista Marino (Naples, 1569-1625), the main exponent of the Baroque in literature, author of Rime (1602), La Galeria (1602) and Adone (1623), and his very close relationship with the arts . Starting precisely with La Galeria (which had 17 editions in less than 50 years), the exhibition reflects on the dialogue between the different artistic disciplines, between poetry and painting and sculpture, between the 16th and 17th centuries, starting with Marini's texts . International loans from the world's most important museums, including the Prado in Madrid, the Kunsthistorisches Museum in Vienna, the MET in New York, the Louvre in Paris, the Gemaeldegalerie in Dresden, which will bring to Rome works - among others - by Brueghel, Carracci, Correggio, Rubens, Palma il Giovane, Poussin, Tintoretto, Titian, as well as a careful selection of precious printed editions of Marino's works 145 colour illustrations Catalogue of the exhibition held at the Borghese Gallery in Rome and dedicated to the poet Giovan Battista Marino and his relationship with the artists of the Renaissance and Baroque period. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condición: NEW.

Condición: New. In.

paperback. Condición: New.

Condición: As New. Unread book in perfect condition.

Brossura. Condición: new. Roma, Galleria Borghese, November 19 - February 9, 2024.Edited by Andrea Zezza, Emilio Russo and Patrizia Torini.English Text.Milano, 2024; paperback, pp. 296, 116 col. ill., cm 23x28. After the season of the great Renaissance painters, the prestige of the figurative arts grew as never before in history. During the 16th century, the artist went from being a common craftsman to holding a status equal to that of the greatest intellectuals of his time. The inseparable relationship between poetry and painting was consolidated in the 17th century, and became close, reciprocal, even competitive when artists and men of letters confronted each other with the same themes in the arena of the arts. In this framework, the poetry of Giovan Battista Marino (1569-1625) plays a fundamental role, whose compositions live on continuous exchanges with contemporary painting and sculpture. His poetic production is rich in visual suggestions, derived as much from direct contact with the art collections he visited during his itinerant life as from the memory of the images of the great artists of the past, starting with La Galeria (1620), which projects onto the walls of an imaginary gallery the names of the artists and works of art that marked the poet's courtly experience, while not neglecting the numerous figurative relationships of the Adonis (1623) and the Strage de gl'innocenti (1632). The catalogue is also enriched by an anthology of Marino's texts in dialogue with the works on display, as well as numerous colour plates. Libro.

Paperback. Condición: Brand New. Italian language. 7.72x5.12x0.87 inches. In Stock.

Brossura. Condición: new. Milano, 2017; br., pp. 111, ill. b/n, cm 17x24.(Saggi in Officina). Bernardo De Dominici (Napoli, 1683-1759) è tra le personalità più controverse della storiografia artistica italiana. Modesto pittore di paesaggi, mercante di disegni e aspirante letterato, pubblicò dopo una lunga elaborazione, tre tomi di "Vite de' pittori, scultori e architetti napoletani" (1742-1745). Concepita nel momento di maggior successo della scuola napoletana di pittura, tra i clamori dei successi internazionali di Luca Giordano, Paolo De Matteis, Francesco Solimena, l'opera è il primo e il più ambizioso tentativo di costruire una storia dell'arte napoletana. Nonostante qualche perplessità suscitata già al tempo della prima pubblicazione, le "Vite" costituiscono da allora un punto di riferimento essenziale per chiunque sia interessato alla storia dell'arte nell'Italia meridionale. Costruite attraverso un uso estremamente disinvolto delle fonti, con largo ricorso a manoscritti ignoti e più che sospetti, le "Vite" non passarono il severo vaglio critico degli studiosi del secondo ottocento, che dimostrarono l'inaffidabilità di larga parte del testo, soprattutto delle parti relative al medioevo e al primo rinascimento, e bollarono il loro autore come "Il falsario" (così si intitolava un saggio di Benedetto Croce sul nostro autore). Nel corso del novecento, a cominciare dai primi studi di Roberto Longhi, l'opera è stata largamente riabilitata, soprattutto per le sue parti sei e settecentesche. Il libro, elaborato al termine di un lungo lavoro di edizione e commento dell'opera, condotto dall'autore in collaborazione con Fiorella Sricchia Santoro e con altri studiosi, offre per la prima volta un'approfondita analisi della storia dell'opera, del contesto in cui fu concepita, dei metodi utilizzati dal biografo, della sua altalenante fortuna e del ruolo che ancora oggi può e deve svolgere per la conoscenza e la comprensione dell'arte napoletana. Libro.

Condición: Neuf.

Condición: new.

Hardcover. Condición: Brand New. 240 pages. 11.00x9.00x9.06 inches. In Stock.

Hardcover. Condición: new. Hardcover. After the season of the great Renaissance painters, the prestige of the figurative arts grew as never before in history. During the 16th century, the artist went from being a common craftsman to holding a status equal to that of the greatest intellectuals of his time. The relationship between poetry and painting was consolidated in the 17th century, and became close, even competitive, when artists and men of letters confronted each other with the same themes. In this framework, the great poetry of Giovan Battista Marino (Naples, 1569-1625) plays a fundamental role. His compositions are rich in visual suggestions, derived as much from direct contact with the art collections he visited during his itinerant life as from the memory of the images of the great artists of the past. The Galeria (1620), one of his most famous books, projects onto the walls of an imaginary gallery the names of the artists and works of art that marked the poet's courtly experience. AUTHORS: Emilio Russo teaches Italian Literature at the 'Sapienza' Universita di Roma. His research focuses on Renaissance and Baroque authors (Ariosto, Tasso, Marino) and 19th century authors (Leopardi, Nievo). In the field of Marino he published Studi su Marino e Tasso (Antenore, 2005), Marino (Salerno Editrice, 2008), and edited the annotated edition of the Adone (Rizzoli, 2013). Patrizia Tosini is associate professor of History of Modern Art at Universita Roma Tre. His studies revolve around the figurative arts of the Counter-Reformation, in particular painting and drawing in Rome between the 16th and 17th centuries, a theme on which he has published numerous studies, including the monograph Girolamo Muziano. Dalla Maniera alla natura (Ugo Bozzi, 2008). Andrea Zezza is full professor of History of Modern Art at the University della Campania 'Luigi Vanvitelli'. He mainly deals with the history of art in southern Italy between the 16th and 18th centuries. For Officina Libraria he recently edited Raffaello. 500 anni dopo (2024). SELLING POINTS: . Catalogue of the exhibition to be held from 12 November 2024 to 9 February 2025 at the Galleria Borghese in Rome . An exhibition dedicated to Giovan Battista Marino (Naples, 1569-1625), the main exponent of the Baroque in literature, author of Rime (1602), La Galeria (1602) and Adone (1623), and his very close relationship with the arts . Starting precisely with La Galeria (which had 17 editions in less than 50 years), the exhibition reflects on the dialogue between the different artistic disciplines, between poetry and painting and sculpture, between the 16th and 17th centuries, starting with Marini's texts . International loans from the world's most important museums, including the Prado in Madrid, the Kunsthistorisches Museum in Vienna, the MET in New York, the Louvre in Paris, the Gemaeldegalerie in Dresden, which will bring to Rome works - among others - by Brueghel, Carracci, Correggio, Rubens, Palma il Giovane, Poussin, Tintoretto, Titian, as well as a careful selection of precious printed editions of Marino's works 145 colour illustrations Catalogue of the exhibition held at the Borghese Gallery in Rome and dedicated to the poet Giovan Battista Marino and his relationship with the artists of the Renaissance and Baroque period. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

brossura. Condición: Ottimo (Fine). BTT147FBrossura editoriale, 24 cm , In testa al frontespizio: Seconda Università degli studi di Napoli, Dipartimento di studio delle componenti culturali del territorio.Volume in ottime condizioni, illustrato, copertina e interno in ottimo stato, legatura salda,  318 pagine circaCopertina come da foto ISBN/ASIN 8860261301. Book.

Buch. Condición: Neu. Neuware - Catalogue of the exhibition held at the Borghese Gallery in Rome and dedicated to the poet Giovan Battista Marino and his relationship with the artists of the Renaissance and Baroque period.After the season of the great Renaissance painters, the prestige of the figurative arts grew as never before in history. During the 16th century, the artist went from being a common craftsman to holding a status equal to that of the greatest intellectuals of his time. The relationship between poetry and painting was consolidated in the 17th century, and became close, even competitive, when artists and men of letters confronted each other with the same themes. In this framework, the great poetry of Giovan Battista Marino (Naples, 1569-1625) plays a fundamental role. His compositions are rich in visual suggestions, derived as much from direct contact with the art collections he visited during his itinerant life as from the memory of the images of the great artists of the past. The Galeria (1620), one of his most famous books, projects onto the walls of an imaginary gallery the names of the artists and works of art that marked the poet's courtly experience.

Hardcover. Condición: new. Hardcover. After the season of the great Renaissance painters, the prestige of the figurative arts grew as never before in history. During the 16th century, the artist went from being a common craftsman to holding a status equal to that of the greatest intellectuals of his time. The relationship between poetry and painting was consolidated in the 17th century, and became close, even competitive, when artists and men of letters confronted each other with the same themes. In this framework, the great poetry of Giovan Battista Marino (Naples, 1569-1625) plays a fundamental role. His compositions are rich in visual suggestions, derived as much from direct contact with the art collections he visited during his itinerant life as from the memory of the images of the great artists of the past. The Galeria (1620), one of his most famous books, projects onto the walls of an imaginary gallery the names of the artists and works of art that marked the poet's courtly experience. AUTHORS: Emilio Russo teaches Italian Literature at the 'Sapienza' Universita di Roma. His research focuses on Renaissance and Baroque authors (Ariosto, Tasso, Marino) and 19th century authors (Leopardi, Nievo). In the field of Marino he published Studi su Marino e Tasso (Antenore, 2005), Marino (Salerno Editrice, 2008), and edited the annotated edition of the Adone (Rizzoli, 2013). Patrizia Tosini is associate professor of History of Modern Art at Universita Roma Tre. His studies revolve around the figurative arts of the Counter-Reformation, in particular painting and drawing in Rome between the 16th and 17th centuries, a theme on which he has published numerous studies, including the monograph Girolamo Muziano. Dalla Maniera alla natura (Ugo Bozzi, 2008). Andrea Zezza is full professor of History of Modern Art at the University della Campania 'Luigi Vanvitelli'. He mainly deals with the history of art in southern Italy between the 16th and 18th centuries. For Officina Libraria he recently edited Raffaello. 500 anni dopo (2024). SELLING POINTS: . Catalogue of the exhibition to be held from 12 November 2024 to 9 February 2025 at the Galleria Borghese in Rome . An exhibition dedicated to Giovan Battista Marino (Naples, 1569-1625), the main exponent of the Baroque in literature, author of Rime (1602), La Galeria (1602) and Adone (1623), and his very close relationship with the arts . Starting precisely with La Galeria (which had 17 editions in less than 50 years), the exhibition reflects on the dialogue between the different artistic disciplines, between poetry and painting and sculpture, between the 16th and 17th centuries, starting with Marini's texts . International loans from the world's most important museums, including the Prado in Madrid, the Kunsthistorisches Museum in Vienna, the MET in New York, the Louvre in Paris, the Gemaeldegalerie in Dresden, which will bring to Rome works - among others - by Brueghel, Carracci, Correggio, Rubens, Palma il Giovane, Poussin, Tintoretto, Titian, as well as a careful selection of precious printed editions of Marino's works 145 colour illustrations Catalogue of the exhibition held at the Borghese Gallery in Rome and dedicated to the poet Giovan Battista Marino and his relationship with the artists of the Renaissance and Baroque period. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Hardback. Condición: New. After the season of the great Renaissance painters, the prestige of the figurative arts grew as never before in history. During the 16th century, the artist went from being a common craftsman to holding a status equal to that of the greatest intellectuals of his time. The relationship between poetry and painting was consolidated in the 17th century, and became close, even competitive, when artists and men of letters confronted each other with the same themes. In this framework, the great poetry of Giovan Battista Marino (Naples, 1569-1625) plays a fundamental role. His compositions are rich in visual suggestions, derived as much from direct contact with the art collections he visited during his itinerant life as from the memory of the images of the great artists of the past. The Galeria (1620), one of his most famous books, projects onto the walls of an imaginary gallery the names of the artists and works of art that marked the poet's courtly experience.

Brossura. Condición: new. A cura di Cioffi R. e Zezza A.Milano, 2024; br., pp. 424, 10 ill. b/n, 200 ill. col., cm 16,9x24.(Saggi in Officina). A partire dal centenario del 1983, che segnò una svolta importante nella storia degli studi sul maestro urbinate, quasi tutte le opere di Raffaello sono state oggetto di nuove ricerche, di indagini scientifiche e di restauri. Il catalogo delle opere dell'artista estremamente ridotto negli studi tra Otto e Novecento per via di una visione troppo restrittiva e unilaterale (Raffaello come pittore della grazia e dell'armonia) si è allargato recuperando tutta la fase finale della sua carriera, che i contemporanei avevano vissuto come un apice ineguagliabile, ma che il gusto romantico e purista aveva rifiutato, distribuendo le opere tra allievi e collaboratori. Si è così restituita la titanica complessità dell'artista, che è tornato a essere considerato uno dei più straordinari innovatori di tutti i tempi, e si sono affermate nuove tecniche di indagine, comprendendo meglio l'utilità dello studio delle tecniche e delle pratiche esecutive di quella che sarà una bottega esemplare non solo per i contemporanei, ma anche per i secoli a venire. Il convegno Raffaello 1520-2020, organizzato dall'Università della Campania «Luigi Vanvitelli», in collaborazione con il Museo e Real Bosco di Capodimonte, si è proposto di offrire un'occasione di confronto tra i maggiori studiosi europei del maestro urbinate e di consentire una riflessione e una discussione comune su alcuni dei temi principali emersi in questi decenni di studi e delle numerose prospettive di ricerca aperte. Libro.