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DEAL OF THE DAY

L'ora dello spettatore. Come le immagini ci usano.

Edited by M. Di Monte and Gennari Santori F.
Roma, 2020; paperback, pp. 264, col. ill., cm 21x27.

cover price: € n.d.

L'ora dello spettatore. Come le immagini ci usano.

Total price: € 40.00 € 147.00 add to cart carrello

Books included in the offer:

L'ora dello spettatore. Come le immagini ci usano.

Edited by M. Di Monte and Gennari Santori F.
Roma, 2020; paperback, pp. 264, col. ill., cm 21x27.

FREE (cover price: € n.d.)

L'ora dello spettatore. Come le immagini ci usano.

Caravaggio. La Bottega del Genio

Roma, Museo Nazionale del Palazzo di Venezia - Sale Quattrocentesche, December 22, 2010 - May 29, 2011.
Edited by Falucci C.
Roma, 2010; paperback, pp. 118, b/w and col. ill., tavv., cm 24x28.
(Cataloghi Mostre. 49).

FREE (cover price: € 48.00)

Caravaggio. La Bottega del Genio

Caravaggio. La Cappella Contarelli

Roma, Palazzo Venezia, March 10 - October 15, 2011.
Edited by M. Cardinali and De Ruggieri M. B.
Roma, 2011; paperback, pp. 150, 60 b/w ill., 60 col. ill., 60 b/w plates, col. plates, cm 24x28.
(Cataloghi Mostre. 50).

FREE (cover price: € 59.00)

Caravaggio. La Cappella Contarelli

chiudi

The Waterfall Project. [Ed. Italiana/Inglese]

Damiani

Italian and English Text.
Bologna, 2008; bound, pp. 40, ill., 40 col. plates, cm 24x34.

ISBN: 88-6208-052-2 - EAN13: 9788862080521

Subject: Collections,Gardens and Parks,Photography

Period: 1960- Contemporary Period

Places: Out of Europe

Languages:  english, italian text   english, italian text  

Weight: 1.16 kg


Olivo Barbieri is back with a new photographic project on the world's greatest waterfalls: from Victoria Falls (on the border between Zambia and Zimbabwe) to Iguazu (between Argentina and Brasil), from Khone Papeng (Laos/Cambodia) to Niagara Falls (Usa/Canada), The Waterfall Project presents a selection of massive water systems with their imposing, incessant energy flows, which - as usual - Barbieri portrays exclusively from an aerial perspective.
Critic Walter Guadagnini writes in the introduction: "There is an evident technical expedient in this, and it is the choice to photograph from above, to place oneself in a privileged and anomalous condition. In the past, this expedient already gave rise to numerous readings, which range from acknowledging the historical roots of this perspective (going back all the way to Nadar's photographs from a hot-air balloon) up to the socio-political implications deriving from 9/11".

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