eloisa dodero (39 risultati)

Soft cover. Condizione: Very Good. No Jacket. 1st Edition. Exhibition December 17, 2017 - April 22, 2018. 4to, stiff pictorial wraqppers. 383 pp, bibliography. Italian text.

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Hardcover. Condizione: Brand New. multilingual edition. 448 pages. Italian language. 8.25x1.75x11.00 inches. In Stock.

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Rilegato. Condizione: nuovo. Condizione sovraccoperta: nuovo. prima edizione. The Paper Museum of Cassiano Dal Pozzo -Series A : Antiquities and Architecture,Part IV Statues and Busts,edited byAmanda Claridge and Eloisa Dodero.Language : english text.

Condizione: New. 2023. Multilingual. hardcover. . . . . .

Condizione: New. 2023. Multilingual. hardcover. . . . . . Books ship from the US and Ireland.

Hardcover. Condizione: Brand New. 01 edition. 630 pages. 9.75x6.75x1.75 inches. In Stock.

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Rilegato. Condizione: nuovo. Condizione sovraccoperta: nuovo. prima edizione. Sarcophagi and Other Reliefs 4 volumes Amanda Claridge, Eloisa Dodero Pages:4 vols, viii + 1794 p. Size:220 x 285 mm Illustrations:190 b/w, 1170 col. Language(s):English, Italian, Latin Publication Year:2022 Buy print version ? 350,00 RETAIL PRICE ISBN: 978-1-912554-56-0 Hardback Available BIO Amanda Claridge was Emeritus Professor of Roman archaeology at Royal Holloway, University of London, specialising in Roman art, topography and architecture, and with a particular interest in antiquarian studies of the early modern period. She also taught at the universities of Princeton and Oxford and was Assistant Director of the British School at Rome from 1980 to 1994. She was a Fellow of the Society of Antiquaries of London, a Corresponding Member of the Accademia Pontificia Romana di Archeologia and of the Archaeological Institute of America, and Commendatore of the Italian Order of Merit. Until her death in 2022 she was academic editor of Series A volumes of the catalogue raisonné in addition to contributing as author to Parts II (1996,1998), V (2016), VI (2012) and IV (forthcoming). Eloisa Dodero is archaeological curator at the Capitoline Museums in Rome. She completed her studies in archaeology at the University of Naples Federico II with a doctorate on collections of antiquities in eighteenth-century Naples and an earlier master's thesis on the antiquities of the Museo Kircheriano in Rome (1651-1733). She was employed by the Royal Collection as research assistant to the Dal Pozzo Catalogue Project and has published extensively on the history of antiquarian collections and the reception of the antique in the early modern period. She is also co-author of Part IV (Statues and Busts, forthcoming) and is currently working with Adriano Aymonino on a new edition of Haskell and Penny's Taste and the Antique. SUMMARY The 1,055 drawings catalogued in these four volumes are mainly divided between the Royal Library at Windsor Castle and the Department of Greece and Rome of the British Museum, but are also scattered in other public and private collections across the world. They correspond most closely to Cassiano's definition of the Paper Museum as his attempt to have 'skilled young draughtsmen' draw 'everything good in marbles and bronze which can provide some information about antiquity'. He focused in the first instance on the ancient figurative reliefs which are especially abundant in the city of Rome, carved on marble sarcophagi, tombstones, altars, bases and a wide range of other monuments. The drawings depict both the public reliefs of the city - such as those on the Arch of Constantine or the Column of Marcus Aurelius - and those from the major Roman private collections of the period, including the Aldobrandini, Borghese, Medici, Farnese, Barberini and Giustiniani collections. Cassiano started the project in the 1620s with the intention of publishing the drawings as a series of prints. No printed edition ever came to pass, but the drawings collection expanded with still greater energy in the 1630s, when Pietro Testa and other young artists from the circle of Pietro da Cortona were employed. After Cassiano's death in 1657 the enterprise was carried forward by his younger brother Carlo Antonio, who continued to collect drawings of sarcophagi and reliefs well into the 1680s. Sixteenth century purchases were also made for the collection, including works by Battista Franco and Pirro Ligorio. Four introductory essays explore the context in which the project evolved and discuss the collecting history of the Paper Museum as attested by the mounts and numbering found on many of the drawings. The range of different hands at work are identified, and a detailed survey is provided of the existing albums or the past - Language : english,latin and italian text.-.

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hardcover. Condizione: New. NEW. SHIPS FROM MULTIPLE LOCATIONS. book.

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Hardcover. Condizione: Brand New. multilingual edition. 400 pages. Italian language. 11.00x8.50x7.00 inches. In Stock.

Rilegato. Condizione: nuovo. Condizione sovraccoperta: nuovo. Turnhout, 2024, Brepols. 3 voll., Cm. 29x23 pp. 1684, 186 ill. b/n, 1592 ill. col., ril. con sovrac. For several hundred years, until about 1900, a limited number of antique sculptures were as much admired as are the Mona Lisa, Botticelli's Birth of Venus or Michelangelo's David today. They were reproduced in marble, bronze and lead, as plaster casts in academies and art schools, as porcelain figurines for chimneypieces and as cameos for bracelets and snuffboxes. They were celebrated by poets from Du Bellay and Marino to Byron and D'Annunzio, and memorably evoked by novelists as diverse as Marcel Proust and Nathaniel Hawthorne, George Eliot and Charles Dickens. Copies of some of these statues can be seen at Pavlosk and Madrid, at Stourhead, Charlottenburg, Malibu and Versailles, and in countless gardens, houses and museums throughout the world. How and when did these particular sculptures achieve such a special status? Who were the collectors, restorers, dealers, artists, dilettanti, scholars and archaeologists who created their reputations? Under what names (often wildly fanciful) did they first become famous? How were they interpreted, and how and when and why did their glamour begin to wane? These are some of the problems that are confronted in Taste and the Antique. Taste and the Antique has become a classic of art history since its original publication in 1981. This revised and amplified edition significantly updates the information based on new research undertaken in the last several decades, as well as expanding examples of the reception and influence of these works by artists and collectors from the Renaissance through to contemporary art.

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Buch. Condizione: Neu. Neuware - For several hundred years, until about 1900, a limited number of antique sculptures were as much admired as are the Mona Lisa, Botticelli's Birth of Venus or Michelangelo's David today. They were reproduced in marble, bronze and lead, as plaster casts in academies and art schools, as porcelain figurines for chimneypieces and as cameos for bracelets and snuffboxes. They were celebrated by poets from Du Bellay and Marino to Byron and D'Annunzio, and memorably evoked by novelists as diverse as Marcel Proust and Nathaniel Hawthorne, George Eliot and Charles Dickens. Copies of some of these statues can be seen at Pavlosk and Madrid, at Stourhead, Charlottenburg, Malibu and Versailles, and in countless gardens, houses and museums throughout the world. How and when did these particular sculptures achieve such a special status Who were the collectors, restorers, dealers, artists, dilettanti, scholars and archaeologists who created their reputations Under what names (often wildly fanciful) did they first become famous How were they interpreted, and how and when and why did their glamour begin to wane These are some of the problems that are confronted in Taste and the Antique. Taste and the Antique has become a classic of art history since its original publication in 1981. This revised and amplified edition significantly updates the information based on new research undertaken in the last several decades, as well as expanding examples of the reception and influence of these works by artists and collectors from the Renaissance through to contemporary art. The original edition has been expanded into three volumes: Volume 1 is a revised and amplified version of the 1981 edition. Fifteen chapters trace in narrative form, with the support of a wide variety of plates, the rise and decline of this highly important episode in the history of taste. These chapters are followed by catalogue entries for 95 of the most celebrated sculptures, all of them illustrated, which provide information on when and where they were discovered, changes of ownership and nomenclature, as well as a record of varying critical fortunes designed to complement the more general discussion in the earlier chapters. Volume 2 contains especially commissioned new photography of over 90 statues catalogued in Volume 1. Volume 3 is entirely devoted to a visual survey of the full range of replicas and adaptations of the works catalogued and illustrated in the previous volumes. The book is indispensable for historians of taste, and to art historians concerned with the debt owed by numerous artists from the Renaissance onwards to the art of ancient Greece and Rome; and it is also of great value to students and collectors of the many surviving copies of the sculptures discussed.

Hardcover. Condizione: new. Hardcover. For several hundred years, until about 1900, a limited number of antique sculptures were as much admired as are the Mona Lisa, Botticelli's Birth of Venus or Michelangelo's David today. They were reproduced in marble, bronze and lead, as plaster casts in academies and art schools, as porcelain figurines for chimneypieces and as cameos for bracelets and snuffboxes. They were celebrated by poets from Du Bellay and Marino to Byron and D'Annunzio, and memorably evoked by novelists as diverse as Marcel Proust and Nathaniel Hawthorne, George Eliot and Charles Dickens. Copies of some of these statues can be seen at Pavlosk and Madrid, at Stourhead, Charlottenburg, Malibu and Versailles, and in countless gardens, houses and museums throughout the world. How and when did these particular sculptures achieve such a special status? Who were the collectors, restorers, dealers, artists, dilettanti, scholars and archaeologists who created their reputations? Under what names (often wildly fanciful) did they first become famous? How were they interpreted, and how and when and why did their glamour begin to wane? These are some of the problems that are confronted in Taste and the Antique. Taste and the Antique has become a classic of art history since its original publication in 1981. This revised and amplified edition significantly updates the information based on new research undertaken in the last several decades, as well as expanding examples of the reception and influence of these works by artists and collectors from the Renaissance through to contemporary art. The original edition has been expanded into three volumes: Volume 1 is a revised and amplified version of the 1981 edition. Fifteen chapters trace in narrative form, with the support of a wide variety of plates, the rise and decline of this highly important episode in the history of taste. These chapters are followed by catalogue entries for 95 of the most celebrated sculptures, all of them illustrated, which provide information on when and where they were discovered, changes of ownership and nomenclature, as well as a record of varying critical fortunes designed to complement the more general discussion in the earlier chapters. Volume 2 contains especially commissioned new photography of over 90 statues catalogued in Volume 1. Volume 3 is entirely devoted to a visual survey of the full range of replicas and adaptations of the works catalogued and illustrated in the previous volumes. The book is indispensable for historians of taste, and to art historians concerned with the debt owed by numerous artists from the Renaissance onwards to the art of ancient Greece and Rome; and it is also of great value to students and collectors of the many surviving copies of the sculptures discussed. The book is indispensable for historians of taste, and to art historians concerned with the debt owed by numerous artists from the Renaissance onwards to the art of ancient Greece and Rome; and it is also of great value to students and collectors of the many surviving copies of the sculptures discussed. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condizione: New. 2016. Revised and Extended ed. hardcover. . . . . .