mandragora srl firenze (12 risultati)

full color photo illustrated trade paperback soft cover small 4to ~ 4º (quarto ~9"x6.5"). very fine cond. mint cond. looks new. like new. as new. binding square & tight. spine uncreased. covers clean. edges clean. contents free of markings. first edition. first printing (nap). Volume 1 of a 2 Volume series. nice clean copy. no library markings, store stamps, stickers, bookplates, no names, inking , underlining, remainder markings etc ~. 235p. glossy pages throughout. almost every page illustrated with full color glossy photo plates, illustrations, plans & diagrams. many full page plates. appendix. notes. essential bibliography. history of architecture. renaissance history. history of italy. art history. art books. religion. history of christianity. ~ The expansion of the Museo dell'Opera di Santa Maria del Fiore in 2013~15 was an opportunity to rethink the general role played by the Cathedral Foundation in promoting and preserving the monuments it oversees: the Baptistery of San Giovanni, the Cathedral or Duomo of Santa Maria del Fiore and Giotto's Bell Tower. The decidedly narrative approach of the museum's new installation project suggested the need to 'narrate' the churches to which the works in the museum refer, and thus to consider the entire monumental complex of Piazza del Duomo an enormous museum, providing visitors with interpretative instruments that can offer insight into its main contents and stvlistic elements. This approach should not be misunderstood, however. Churches are never museums, even if they welcome scholars and tourists who come to see the artwork they contain. Every church is a house of God" (this is exactly what the term duomo means: domus. 'house'. 'house of God`). Consequently, those who want to explain a church must above all convev its sacred character, as this normally proves to be the surest key to its art and historical interpretation.

Condizione: NUOVO. Firenze, Mandragora S.r.l. cm.17,5x24,5, pp.133, illustrazioni in bianco e nero e a colori. legatura editoriale cartonata, copertina figurata. Testo Italiano e Inglese. Per la prima volta nella storia dell'umanità la popolazione mondiale ha raggiunto i sette miliardi di unità, numero che è destinato a crescere in maniera esponenziale. Si tratta di sette miliardi di individui, ciascuno dei quali afferma la propria sacra identità, unicità, originalità, come portatore di una storia irripetibile, di un proprio amore, di un proprio genoma. La complessità, le contraddizioni, le ibridazioni sono così diventate le categorie di riferimento per la politica e il progetto, costretti a confrontarsi con 'problemi che non hanno soluzione'. Questa nuova società multietnica non è un giocoso girotondo frutto di una reciproca tolleranza che permette a ciascuna di queste etnie di conservare le proprie radici e le proprie antiche identità. Nella metropoli multietnica si produce una progressiva ibridazione tra le quattrocento minoranze che ancora esistono nel mondo. Indipendentemente dalla nostra capacità di accoglienza, questo prezioso arcipelago di etnie viene quotidianamente attraversato dai flussi invasivi degli scambi commerciali internazionali, dalle informazioni, dalla convivenza con nuove abitudini, mode, musiche, gastronomie, religioni, fino a produrre una grande ibridazione generale. Nel secolo scorso ci siamo illusi che a ogni problema potesse essere trovata una soluzione; ma la metropoli multietnica rappresenta un problema che non può trovare soluzione, soltanto una faticosa gestione. (Andrea Branzi) Milano, 4 febbraio-12settembre 2016 A cura di Andrea Branzi.

Condizione: MOLTO BUONO. Firenze, Mandragora S.r.l. cm.14x21, pp.176, illustrazioni. brossura con copertina figurata a colori. A cura di Anna Benvenuti.

Paperback. Condizione: As New. Slate wraps with color image and grey/white lettering. French flaps. 77 pp. with 15 color plates. Text in Italian and Russian. Catalogue from the exhibition held May - June 2013 at the Hermitage. With critical essays by Sergej Androsov, Marco Fagioli, and Tomaso Montanari. Sculptural works and paintings by Quinto Martini (19081990).

Condizione: BUONO USATO. ITALIANO Brossura editoriale con alette, coperta illustrata a colori al piatto anteriore e lievemente imbrunita. Tagli regolari e leggermente imbruniti, pagine ben salde alla costa ed in buono stato di conservazione. Libro completamente fruibile, realizzato a cura dell'Associazione Tirrenica Cooperative Consumatori e con il contributo di Alvaro Agrumi, Valdo Giacomelli e Saverio Tutino. Presentazione di Vittorio Foa, introduzione di Nicola Labanca, revisione dei testi e note Marco Selvetti, presenti illustrazioni in nero nel tsto, numero pagine 411.

Condizione: OTTIMO USATO. Mandragora Guides INGLESE Coperta illustrata a colori e con minimi segni del tempo. Ottimo stato interno, tagli regolari e pagine perfettamente salde alla costa. Libro completamente fruibile, appartenente alla collana "Mandragora Guides", a cura e con didascalie di Andrea Paoletti e Monica Fintoni, testo di Carlo Montrésor, traduzione inglese di Mark Roberts. Prefazione di Anna Mitrano (Presidente dell'Opera di Santa Maria del Fiore), presenti numerose illustrazioni a colori nel testo, numero pagine 191; da segnalare: il volume potrebbe contenere timbri, il materiale è stato regolarmente acquisito dalla nostra Libreria.

Condizione: BUONO USATO. ITALIANO Brossura editoriale con alette, coperta illustrata al piatto anteriore e lievemente imbrunita. Tagli regolari e naturalmente imbruniti, pagine ben salde alla costa e con modesta imbrunitura. Libro completamente fruibile, realizzato a cura dell'Associazione Tirrenica Cooperative Consumatori, con presentazione di Vittorio Foa e con inttroduzione di Nicola Labanca, revisione dei testi e note di Marco Salvetti, presenti illustrazioni in nero nel testo (fotografie: Torrini Fotogiornalismo - Red Giorgetti - Archivio Istituto Storico della Resistenza in Toscana), numero pagine 411.

Condizione: BUONO USATO. ITALIANO Buono stato, coperta illustrata in cartoncino patinato semimorbido, bordo appena sfregato, minima ammaccatura, tagli e pagine in ottimo stato. Traduzione dallo spagnolo Ana Ortiz Fernandez. Consulenza scientifica per l'italiana dr. Anna Maria Bellotti. Numero Pagine 116.

cartonato. Condizione: discreto. prima edizione. Libro usato in buono stato, con parziale distacco al dorso. Ill. a colori nel testo Florence , Palazzo Strozzi, 23 MArzo-18 Agosto 2013 Paris, Musée du Louvre, 26 September-6 January 2014 Florence is justly named the 'cradle of the renaissance'. It was here that, inspired by the revival of interest in classical antiquity, fueled by civic pride and fostered by the wealthy Medici family, a visual language was created that was to be spoken across Europe for centuries to come. The new style was spearheaded in the early 1400s by the sculptors Donatello and Ghiberti, the architect Brunelleschi and the painter Masaccio. At its heart was an interest in the realistic depiction of the human figure, based on direct observation from life, and the inventive reuse of Antique forms. It was an era of intense creativity and astonishing potential, with new techniques and skills contributing to its remarkable achievements, notably Brunelleschi's Dome and Ghiberti's Gates of Paradise. In this explosion of artistic talent, it was sculptors who frequently led the way - not only Ghiberti, who revived the art of large-scale bronze casting, but the genius Donatello, whose inventive design, expressive range and technical versatility are unparaleled. Masaccio translated Donatello's inventions into paint; in the next generation, the sculptors Luca della Robbia and Desiderio da Settignano, and the painters Paolo Uccello and Filippo Lippi, elaborated these ideas. The Springtime of the Renaissance, Sculpture and the Arts in Florence 1400-1460, exhibition comes to Florence's Palazzo Strozzi before moving to the Louvre in Paris. The exhibition's main focus is on masterpieces of sculpture, arranged around Brunelleschi's Cupola for Santa Maria del Fiore. The exhibition follows development and influences from monumental sculptures by the likes of Donatello, Ghiberti, Nanni di Banco and Michelozzo, painting by artists such as Masaccio, Paolo Uccello, Andrea del Castagno and Filippo Lippi, and the impact on the political and spiritual mood of the city. Other elements include the development of perspective in bas-relief work, a taste for 'new beauty' and new commissions in places of worship, and the transition to the private patronage of the powerful Medici family. This beautiful exhibition catalogue encompasses the exhibition through over 200 images.

Soft cover. Condizione: Very Good. No Jacket. 1st Edition. English text.; Paperback.; 24.5 x 29.5 cm.; 2.3 kg.; 359 pages with colour illustrations.; Used with signs of wear on the exterior and interior. The exterior shows minor edge wear, scuffs and scratches on the front cover, spine and back cover. The spine shows minor wear throughout, and a slight scuff at the top. Interior with minor signs of wear.; Catalogue from the exhibition Bronzino. Artist and Poet at the Court of the Medici, held at Florence, Palazzo Strozzi, 24 September 2010-23 January 2011.; "It is difficult to think of a painter more Florentine than Bronzino. The exhibition "Bronzino. Artist and Poet at the Court of the Medici" is a landmark, and the Palazzo Strozzi the perfect setting for the first ever monographic exploration of Bronzino's paintings. The son of a butcher, Agnolo di Cosimo di Mariano, better known by his nickname Bronzino, was born on 17 November 1503 in Monticelli, then a suburb of Florence. After a short apprenticeship with Raffaellino del Garbo, in 1517-8 he became the pupil of Jacopo da Pontormo (1494-1557), and by the early 1520s he had gained some independence as a collaborator in his workshop. The friendship and professional association between Pontormo and Bronzino, who were actually relatively close in age, continued for almost four decades. Pontormo's impact on Bronzino lasted into the early 1530s. Bronzino is one of the greatest artists in the history of Italian painting, and embodies the ripening of the 'modern manner' in the years in which Cosimo I de' Medici ruled Florence. Bronzino conveyed the elegance of the Medici court with an austere beauty and 'naturalness', yet at the same time-a kind of icy aristocratic splendour. A sophisticated court painter, he was also a poet and a member of the Accademia Fiorentina. His poetry ranged from the academic style of Petrarch to ironic and satirical verses such as 'Il piato', where he describes an imaginary and symbolic journey through a giant's entrails, or 'La cipolla', a playful and erotic homage to the multi-layered complexity of female physical and metaphysical anatomy. Nor were Bronzino's interests limited to the links between painting and poetry: he also took up both pen and brush in the dispute about whether painting or sculpture was the nobler art. This dispute, known as paragone, was promoted by Benedetto Varchi, who in 1547 solicited the opinion of various artists on the subject of the primacy of the arts, including Bronzino, Michelangelo, Pontormo and Cellini. Bronzino even responded with the Portrait of the Dwarf Morgante, Cosimo I's court dwarf, shown naked on two sides of the same canvas-a picture intended to be placed in the centre of a room as though it were a sculpture. Bronzino's legacy was continued by his pupil Alessandro Allori, who developed his master's austerely formal style, while at the same time adding a strongly sentimental quality, strengthened by a naturalism whose presence became increasingly marked towards the end of the century. Allori was to paint until 1607, by which time the naturalism of Caravaggio was spreading unchecked, marking the beginning of a new era in painting. All art is contemporary in the moment of its creation, and although Bronzino's 'modern manner' was soon seen by the younger generation as old-fashioned, to modern eyes it once again seems fresh and contemporary." excerpt from the introductory text by Lovenzo Beni Smaghi, Chairman of the Fondazione Palazzo Strozzi.

Condizione: Sehr gut. Erstauflage / Prima edizione. Bll. + 159 S. inkl. Bibliographie, u. mit s/w. u. farb. Abbildungen der Werke (Malerei, Zeichnungen.). * Fabrizio Boschi (gebor. 1572 - gest. 1642) war ein italienischer Maler des Frühbarock, tätig in Florenz. Sprache: Italienisch Gewicht in Gramm: 1050 4°, OIll.-LeichtKarton./Paperback oder Broschur. Sehr gut erhalten.

Rústica editorial con solapas. 479 p. Muy buen estado. Profusamente ilustrado con fotografías. En italiano. 29,8 x 24,2 cm.