Borruso francesca (13 risultati)

Paperback. Condizione: New.

Brossura. Condizione: new. Translation by Matrone M.English Text.Roma, 2023; paperback, pp. 216, b/w ill., cm 17x24. Henry Moore's profound interest in the art of prehistory touched on many different aspects, from his early studies on and drawings of small sculptures and bas-reliefs of female creatures known as Palaeolithic Venuses (1926), to 'Primitive Art' (1941), written a few months after the bombing of London, and finally to Three Standing Figures (1948), Seated Woman (1958) and Three Quarter Figure (1961). The thread of passionate and continuous coherence that intertwines Moore's interest in primitive art with his own art, from drawings to grandiose sculptures, unfolded over his entire life, permeating his in-depth research into human identity. Following Moore's research, we reach back into the first archaeological discoveries in the second half of the 19th century, and the hostility and radical opposition the existence of human beings living thousands of years apart, and their art, aroused in the academic and religious environments.At the time of Moore's first drawings, these positions were still dominant - only recently, have we started to consider an age so far back in time as Deep History, our own Deep History -, which contrasted with what Moore had always sensed. For instance, drawing from his own identity as an artist and a human being, Moore never perceived any discontinuation with first human beings' existence and art. To him, 'Art is a universal continuous activity with no separation between past and present'. Libro.…

Paperback. Condizione: New.

Condizione: NEW.

Condizione: NEW. Roma: Espera, 2023 9788899847524 809 216 p. : ill. col. b/n, indice ; 24 cm. Henry Moore's profound interest in the art of prehistory touched on many different aspects, from his early studies on and drawings of small sculptures and bas-reliefs of female creatures known as Palaeolithic Venuses (1926), to 'Primitive Art' (1941), written a few months after the bombing of London, and finally to Three Standing Figures (1948), Seated Woman (1958) and Three Quarter Figure (1961). The thread of passionate and continuous coherence that intertwines Moore's interest in primitive art with his own art, from drawings to grandiose sculptures, unfolded over his entire life, permeating his in-depth research into human identity. Following Moore's research, we reach back into the first archaeological discoveries in the second half of the 19th century, and the hostility and radical opposition the existence of human beings living thousands of years apart, and their art, aroused in the academic and religious environments. At the time of Moore's first drawings, these positions were still dominant only recently, have we started to consider an age so far back in time as Deep History, our own Deep History , which contrasted with what Moore had always sensed. For instance, drawing from his own identity as an artist and a human being, Moore never perceived any discontinuation with first human beings' existence and art. To him, 'Art is a universal continuous activity with no separation between past and present'. Henry Moore's profound interest in the art of prehistory touched on many different aspects, from his early studies on and drawings of small sculptures and bas-reliefs of female creatures known as Palaeolithic Venuses (1926), to 'Primitive Art' (1941), written a few months after the bombing of London, and finally to Three Standing Figures (1948), Seated Woman (1958) and Three Quarter Figure (1961). The thread of passionate and continuous coherence that intertwines Moore's interest in primitive art with his own art, from drawings to grandiose sculptures, unfolded over his entire life, permeating his in-depth research into human identity. Following Moore's research, we reach back into the first archaeological discoveries in the second half of the 19th century, and the hostility and radical opposition the existence of human beings living thousands of years apart, and their art, aroused in the academic and religious environments. At the time of Moore's first drawings, these positions were still dominant only recently, have we started to consider an age so far back in time as Deep History, our own Deep History , which contrasted with what Moore had always sensed. For instance, drawing from his own identity as an artist and a human being, Moore never perceived any discontinuation with first human beings' existence and art. To him, 'Art is a universal continuous activity with no separation between past and present'.…

Condizione: Very Good. Condizioni molto buone, copertina flessibile lievemente ombrata. Copertina flessibile 232 9788840012476 Molto buono (Very Good) . flexi bound Copertina flessibile. Book.

Paperback. Condizione: New.

Brossura. Condizione: new. A cura di Venzo M. I.Roma, 2015; br., pp. 496, ill.(La Memoria Restituita. 10). È possibile ricostruire nelle varie epoche il linguaggio dell'amore al di fuori dei campi espressivi dell'arte e della letteratura? È possibile rintracciarlo nella vita reale delle persone attraverso il mezzo della scrittura epistolare che ha accomunato poveri e ricchi, colti e semicolti? È quanto si propone la presente raccolta di carteggi, perlopiù inediti, entrando nell'intimità di personaggi illustri o anche di persone comuni che trovatesi a vivere in contesti eccezionali (guerre, dittature, discriminazioni razziali) hanno lasciato testimonianza dei loro sentimenti. Attraverso le lettere, emerse dagli archivi pubblici e privati, vediamo sfilare sul palcoscenico della vita reale la controversa vicenda coniugale di Isabella de'Medici e Paolo Giordano Orsini, l'amor platonico dell'erudito Cebà nei confronti della poetessa ebrea Sarra Copio, i legami adulteri di ragguardevoli personaggi pubblici quali Luigi Pianciani, Sidney Sonnino, Palma Bucarelli, le affinità elettive di Piero e Ada Gobetti, le lettere scritte in punto di morte da personaggi minori travolti dalle vicende della grande storia. Libro.…

Condizione: new.

Brossura. Condizione: new. Roma, 2019; br., pp. 226, ill. b/n, cm 17x24. Il profondo interesse di Henry Moore per l'arte della preistoria toccò negli anni diversi aspetti, dai primi studi e disegni sulle piccole sculture e bassorilievi di creature femminili conosciute come "Veneri paleolitiche" (1926), all'articolo "Primitive art" (1941) scritto pochi mesi dopo il terribile bombardamento di Londra durante la prima guerra mondiale, fino ad arrivare alle "Three standing figures" (1948), alla "Woman" (1958) e alla "Three quarter figure" (1961). Il filo di coerenza appassionata e continua che collega quest'interesse alla sua stessa arte, dai disegni alle grandiose sculture, si è svolto per decenni innestandosi sulla sua fondamentale ricerca sull'identità umana. Seguendo Moore nel suo percorso si risale alle prime scoperte archeologiche della seconda metà dell'Ottocento, alle ostilità e agli scontri radicali che suscitò nelle autorità accademiche e religiose la scoperta dell'esistenza della vita e dell'arte di esseri umani vissuti migliaia di anni fa. Prefazione di Margherita Mussi. Libro. …

Paperback. Condizione: New.

Paperback. Condizione: New.

Paperback. Condizione: New.