Galassi maria clelia (37 risultati)

Hardcover. Condizione: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condizione: As New. Condizione sovraccoperta: As New. 1st Edition. Gruppo Sanpaolo e Edizioni Bolis hardcover in dust jacket, 1996, unused and carefully stored, No marks/tears or other defects, as New/as New). We will add a custom fitted mylar cover, bubble wrap the book and ship it in a New BOX- Not a plastic bag like the zombie sellers. "Mural Painting in Italy: The 15th Century" By Gruppo Sanpaolo . Text is in English.…

Paperback. Condizione: Very Good. 2014 Archetype Publications large format paperback edition. Light reading wear else very good condition. Contents: 1. Pieter Brueghel as a copyist after Pieter Bruegel by Christina Currie and Dominique Allart, 2. Copies of prototypes by Quentin Massys from the workshop of his son Jan: the case of the Butter Madonna by Maria Clelia Galassi, 3. An unpublished copy of Hieronymus Bosch's Temptation of Saint Anthony by Catheline Perier-D'Ieteren, 4. Emulating van Eyck: the significance of grisaille by Noelle L.W. Streeton, 5. Two versions of a Boutsian Virgin and Child painting: questions of attribution, chronology and function by Eva de la Fuente Pedersen and Troels Filtenborg, 6. Copies and versions: discussing Holbein's legacy in England. Technical examination of copies of Holbein portraits at the National Portrait Gallery by Sophie Plender and Polly Saltmarsh, 7. A technical study of portraits of King James VI and I attributed to John de Critz the Elder (d.1642): artist, workshop and copies by Caroline Rae and Aviva Burnstock, 8. Michiel van Mierevelt, copy master: exploring the oeuvre of the Van Mierevelt workshop by Anita Jansen and Johanneke Verhave, 9. The Assumption of the Virgin by the studio of Peter Paul Rubens from the National Gallery of Art in Washington: between master's piece and student's copy by Julia Burdajewicz, 10. The problem of the portrait copies painted by Rubens in Madrid, 1628-29 by Jeremy Wood, 11. After Raphael: the Hunterian Entombment copy examined in the context of copying practices in early 17th-century Rome by Peter Black, Erma Hermens and Helen Howard, 12. Materials as markers: how useful are distinctive materials as indicators of master or copyist? by Libby Sheldon and Gabriella Macaro, 13. Joseph Booth's chymical and mechanical paintings by David Saunders, 14. The Strawberry Girl: repetition in Reynolds's studio practice by Alexandra Gent, Rachel Morrison and Rica Jones.…

Brossura. Condizione: new. Genova, 2019; br., pp. 104, ill., cm 17x24. (Materiali d'Arte Genovese). Il titolo di questo volume trae la citazione dalla deposizione rilasciata nel 1624 da Bernardo Strozzi, chiamato con Luciano Borzone a stimare i lavori - pala d'altare e affreschi - eseguiti da Andrea Ansaldo per la cappella di San Carlo nella chiesa di Nostra Signora della Concordia ad Albissola Marina. Il committente, Giuseppe Ghirardi, riteneva di dover pagare l'intero lavoro 470 lire; l'Ansaldo ne reclamava 2.400, una cifra non troppo distante da quella di 2.130 lire stabilita dallo Strozzi e dal Borzone, suoi periti di parte, di cui 500 per la sola pala d'altare. Alla fine, l'artista riceverà complessivamente 1.200 lire, la metà di quanto reclamato ma comunque quasi il triplo di quanto il Ghirardi pretendeva di sborsare inizialmente. La vicenda, ben documentata attraverso il verbale dell'interrogatorio reso dai due pittori periti, risulta paradigmatica per comprendere come fosse percepito e su quali parametri fosse valutato il lavoro del pittore in questi primi decenni del Seicento, attestando il netto scontro tra una mentalità provinciale e arretrata, quella del Ghirardi - per cui il prezzo della pittura doveva essere ancora stabilito sulla base del numero delle figure. Libro.…

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

hardcover. Condizione: New. 1st.

Hardcover. Condizione: Brand New. 239 pages. 11.75x8.25x0.75 inches. In Stock.

Volume: 1 32x25 cm., legatura in piena tela gricia, sopraccoperta illustrata con l'opera di Giacinto Pasciutti ' Tomba di Salvatore Rebora'' 1916, Cimitero di Staglieno; pp. 522 (6), 676 illustrazioni in bianconero e a colori, prima edizione, fuori commercio, in italiano, ottimo stato, solo lievi segni del tempo sull'astuccio muto.…

Condizione: New.

Condizione: New.

Hardcover. Condizione: new. Hardcover. The painter Jan Massys (c. 1510-1573) trained under his father Quinten, succeeding him after his death (1530) at the head of Antwerp's most famous workshop. However, his career, destined for certain success, was abruptly cut short in 1544. Condemned for joining the Loysts sect, he had to flee Antwerp, finding refuge perhaps initially in France and at one point in Italy. Only in 1555 was he able to return to his homeland, regaining his artistic leadership within a few years. His oeuvre consists exclusively of works for private use and is characterized, in particular, by the depiction of elegant and seductive nude or half-naked female figures, protagonists of biblical or mythological subjects. The identification of the patron of the 1561 Venus with the view of Genoa (Stockholm, Nationalmuseum) in the person of the noble Genoese banker Ambrogio di Negro, offered the possibility of reconstructing the social context of the artist's clientele and his relations with those intellectuals - both Genoese and Flemish-who gave life to the lively humanist academies of Antwerp. The figure emerges of a cultivated and particularly refined painter, who shared with his patrons the ideals of neo-Petrarchan poetry and executed paintings of great preciousness, characterized by a meticulous and skillful painting technique. This book rediscovers the Antwerp painter Jan Massys (c.1510-1573) and his artistic milieu. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Hardback. Condizione: New. 1st.

Condizione: As New. Unread book in perfect condition.

Condizione: COME NUOVO. Genova, Fondazione Cassa di Risparmio di Genova e Imperia cm.26,5x33, pp.430, centinaia di figure bn.e a colori nel testo, legatura editoriale in tutta tela, con sopraccoperta figurata a colori.

Condizione: As New. Unread book in perfect condition.

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

Rilegato. Condizione: nuovo. Condizione sovraccoperta: nuovo. prima edizione. Buy print version € 210,00 EXCL. VAT RETAIL PRICE ISBN: 978-2-503-60720-7 Hardback Available This book rediscovers the Antwerp painter Jan Massys (c.1510-1573) and his artistic milieu. SUBJECT(S) Renaissance painting Painters REVIEW(S) "As expected in the Me Fecit series of which this volume is a part, attention to painting technique and laboratory examinations figures prominently." (Larry Silver, in Historians of Netherlandish Art Reviews, May 2024) BIO Maria Clelia Galassi graduated in art history at the University of Genoa and obtained her PhD from the University of Milan. Since 2000 she is professor at the University of Genoa, where she teaches History of collecting and Technical Art History. She focused her researches on Flemish and Italian painting technique during the Early Modern Age, and in the artistic relationship between Genoa and the Netherlands in the 15th and 16th centuries. SUMMARY The painter Jan Massys (c. 1510-1573) trained under his father Quinten, succeeding him after his death (1530) at the head of Antwerp's most famous workshop. However, his career, destined for certain success, was abruptly cut short in 1544. Condemned for joining the Loysts sect, he had to flee Antwerp, finding refuge perhaps initially in France and at one point in Italy. Only in 1555 was he able to return to his homeland, regaining his artistic leadership within a few years. His oeuvre consists exclusively of works for private use and is characterized, in particular, by the depiction of elegant and seductive nude or half-naked female figures, protagonists of biblical or mythological subjects. The identification of the patron of the 1561 Venus with the view of Genoa (Stockholm, Nationalmuseum) in the person of the noble Genoese banker Ambrogio di Negro, offered the possibility of reconstructing the social context of the artist's clientele and his relations with those intellectuals - both Genoese and Flemish-who gave life to the lively humanist academies of Antwerp. The figure emerges of a cultivated and particularly refined painter, who shared with his patrons the ideals of neo-Petrarchan poetry and executed paintings of great preciousness, characterized by a meticulous and skillful painting technique. TABLE OF CONTENTS CHAPTER 1 'Joannes Massiis alias Quintens': Follower of a Great Artistic Legacy 1. Jan, his father Quinten's collaborator and emulator 2. The beginnings under paternal tutoring 2.1 The Prado Diptych, an unsolvable case? 2.2 The Saint Mary Magdalene of Antwerp: a proposal 3. Developing the prototype of Quinten Massys's Butter Madonna 4. The beginnings as Quinten's follower: the first secular subjects 5. Conclusions CHAPTER 2 A Career of ups and downs 1. Jan's ascertained biography through documents and dated paintings 2. Reconstructing a background: the years of a successful debut 2.1 The first Madonnas 2.2 The New York Rest on the Flight into Egypt 2.3 Secularizing religious themes: the Phoebus Susanna and the Elders 3. The exile 3.1 Where did he go? 3.2 The two paintings produced in exile 4. Back to a profoundly transformed Antwerp 4.1 Religious subjects for Catholic and reformed clientele 4.2 Genre scenes CHAPTER 3 Jan Massys and Female Beauty 1. 'Une volupté que le maîtres flamands n'avaient point obtenue ou cherchée jusqu'alors': characteristics of the Massys's brand 1.1 Changing aesthetic canons: Jan's answer to Antwerp Romanists 2. The Venus of Cythera with the Views of Genoa: a clue about Jan Massys's patrons 3. Was it Jan van der Noot who inspired, or commissioned, the Flora a with the view of Antwerp? 4. 'Ut pictura thaetrum': Jan Massys's tableax vivants-like paintings for an elite audience. A hypothesis that requires further investigation 5. A special Merry Company Language : English text.…

Condizione: New. 2024. 1st Edition. hardcover. . . . . .

Hardback. Condizione: New. 1st.

Condizione: New. 2024. 1st Edition. hardcover. . . . . . Books ship from the US and Ireland.

Hardcover. Condizione: new. Hardcover. The painter Jan Massys (c. 1510-1573) trained under his father Quinten, succeeding him after his death (1530) at the head of Antwerp's most famous workshop. However, his career, destined for certain success, was abruptly cut short in 1544. Condemned for joining the Loysts sect, he had to flee Antwerp, finding refuge perhaps initially in France and at one point in Italy. Only in 1555 was he able to return to his homeland, regaining his artistic leadership within a few years. His oeuvre consists exclusively of works for private use and is characterized, in particular, by the depiction of elegant and seductive nude or half-naked female figures, protagonists of biblical or mythological subjects. The identification of the patron of the 1561 Venus with the view of Genoa (Stockholm, Nationalmuseum) in the person of the noble Genoese banker Ambrogio di Negro, offered the possibility of reconstructing the social context of the artist's clientele and his relations with those intellectuals - both Genoese and Flemish-who gave life to the lively humanist academies of Antwerp. The figure emerges of a cultivated and particularly refined painter, who shared with his patrons the ideals of neo-Petrarchan poetry and executed paintings of great preciousness, characterized by a meticulous and skillful painting technique. This book rediscovers the Antwerp painter Jan Massys (c.1510-1573) and his artistic milieu. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Condizione: gut. Jan Massys : Renaissance Painter of Flemish Female Beauty. In deutscher Sprache. pages.

Slipcased. Italian language text. Orange cloth boards with illustration, Grey spine. Black slipcase. 150 pages : illustrations (some color). Includes bibliographical references (pages 139-150). VG/VG Slipcase has general wear.

hardcover. Condizione: Very Good. Tiratura realizzata dall'editore per la Cassa di Risparmio di Pisa; stampa 1989 - Volume rilegato in tela editoriale color mattone, sovraccoperta originale, 315 pagine con tavole a colori fuori testo; catalogo delle opere illustrato in bianco e nero. Indice generale consultabile nelle nostre immagini. Tenue ingiallimento al dorso e ai margini della sovraccoperta, peraltro copia in ottimo stato -- Figlio di Giovan Battista, un orafo nato a Firenze ma trasferitosi a Pisa in cerca di lavoro, fu pittore come i suoi fratelli Baccio e Orazio che fu tra i protagonisti della pittura italiana ed europea dei primi decenni del Seicento. La formazione di Aurelio si sviluppò a Firenze dove si era trasferito dopo la morte del padre (1575) e prima del suo trasferimento a Roma avvenuto probabilmente nel 1578 e dove si trattenne con il fratello Orazio fino al 1587: è di questo arco di tempo l'unica opera sua giunta fino a noi a Roma, la decorazione della Cappella dell'Assunta in S. Maria della Vallicella. Nel 1588 egli ritornò a Pisa e sono degli anni successivi due capolavori del Duomo di Pisa come l'Adorazione dei pastori e l'Adorazione dei Magi. Nel 1597 si trasferì a Genova e qui, dopo aver lavorato per il principe Giovanni Andrea Doria, divenne il pittore preferito dagli ordini religiosi conventuali che puntavano ad una nuova spiritualità nella piena applicazione di programmi dottrinali di sicura ortodossia. Il Lomi aveva condiviso pienamente la lezione che Gabriele Paleotti nel suo Discorso intorno alle immagini sacre e profane (Bologna 1582) aveva espresso: esse devono "persuadere le persone alla pietà et ordinarle a Dio; perché essendo queste immagini sacre cose di religione e richiedendo la virtù della religione che si renda il debito culto a Dio, ne segue che lo scopo di queste immagini sarà di muovere gli uomini alla debita obbedienza e soggezione a Dio". Nel 1604 egli ritornò a Pisa e qui rimase fino al 1613 quando si spostò a Firenze dove abitò almeno fino al 1618. La sua morte probabilmente avvenne a Pisa tra il 1623 e il 1624. Book.…

Copertina morbida. Condizione: Ottimo. 315 p. : ill. ; 29 x 25 cm . Monografia sul pittore pisano Aurelio Lomi (1556-1624) che operò nel periodo compreso tra Tardo Rinascimento e Barocco. Fu avviato alla pittura dal padre, l'orafo fiorentino Giovanni Battista Lomi, padre naturale anche di Orazio Gentileschi, ma ben presto iniziò a lavorare con il Bronzino, e anche con Lodovico Cardi (altrimenti noto come Cigoli). Svolse la sua attività a Pisa, Firenze, Roma e Genova. Volume edito con il patrocinio della Cassa di Risparmio di Pisa. Legatura editoriale, coperta in cartone rigido telato di colore ocra con titolo impresso in oro al piatto e al dorso. Sovraccoperta in cartoncino plastificato lucido, illustrata a colori. All'interno numerose illustrazioni in b/n e a colori in carta patinata lucida. Qualche segno del tempo alla sovraccoperta (macchie), per il resto libro integro. All'interno numerose illustrazioni in b/n e a colori su carta patinata lucida.…

rilegato Copertina flessibile. Condizione: Molto buono (Very Good). 1989; Opera con copertina rigida e sovraccoperta alettata. Numerose illustrazioni a colori e b/n nt e ft. Pag.318STO6. Book.

couverture rigide, 288 pages, avec illustrations en couleur, 30,5 x 23 cm, texte en fran ais Neuf. ISBN 9789462304024. La beaut et la laideur sont, depuis l?Antiquit , des sujets qui ne cessent de fasciner et de questionner, s?agissant de th mes universels dont les variantes sont d termin es selon les cultures et les poques. Comment la dialectique entre le beau et le laid s?est-elle formellement exprim e entre la fin du XVe si cle et le XVIe, p riode qui s?av rera charni re ? Les artistes de la Renaissance ont t les premiers leur accorder une gale importance et cet int r t ira croissant tout au long du XVIe si cle. Le pr sent ouvrage explore cette trajectoire, d ployant les th mes de la beaut et de la laideur sous leurs aspects les plus saillants et les plus repr sentatifs. Une approche comparative entre les oeuvres de la Renaissance italienne et celles de l?Europe du Nord, en particulier des anciens Pays-Bas, permet de saisir les constantes et les d clinaisons dans l?histoire des formes et du go t, l?appui d?oeuvres accompagn es de notices, entre autres de Sandro Botticelli, Lucas Cranach l?Ancien, L onard de Vinci, Frans Floris de Vriendt, Albrecht D rer, Lorenzo Lotto, Quentin Metsys, Michel-Ange, Titien, Le Tintoret et Veronese. Sous la direction scientifique de Chiara Rabbi Bernard, avec des essais de Cristina Acidini, Christophe Brouard, Elena Capretti, Maria Clelia Galassi, Yves Hersant, Koenraad Jonckheere, Catherine Lano , Pietro C. Marani et Giandomenico Spinola. 0 g.…

Couverture souple. Condizione: Comme neuf. Condizione sovraccoperta: Comme neuf. Il polittico della cervara di Gerard David a cura di Clario Di Fabio, Maryan W.Ainsworth, Franca Carboni,Clario Di Fabio, Maria Clelia Galassi, 2005 Silvana editoriale Milano,Brossura (softcover) illustrazioni in bianco e nero e a colori ( ill. black&white and colours), 95 pag230X280mmlingua italiano (italian Text.).…

Couverture rigide. Condizione: Très bon état. Condizione sovraccoperta: Very Good. In-4 33 x 26,5 cm. Reliure éditeur pleine toile grise, jaquette noire illustrée en couleurs, 676 illustrations en couleurs et en noir & blanc dans et hors-texte, biographies des artistes, table des matières. Exemplaire en très bon état. Texte en italien. …

Condizione: gut. Bellezza e Bruttezza, L?idéal, le réel et le caricatural à la Renaissance In deutscher Sprache. pages.