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DEAL OF THE DAY

Felice Palma. Massa 1583-1625. Collezione / Collection.

Texts by Andrei Cristina, Ciarlo Nicola, Federici Fabrizio, Claudio Casini and Sara Ragni.
Italian and English Text.
Pontedera, 2024; bound in a case, pp. 289, b/w and col. ill., b/w and col. plates, cm 24,5x34.
(L'Oro Bianco. Straordinari Dimenticati. The White Gold Forgotten Masters).

cover price: € 160.00

Felice Palma. Massa 1583-1625. Collezione / Collection.

Total price: € 160.00 € 314.49 add to cart carrello

Books included in the offer:

Felice Palma. Massa 1583-1625. Collezione / Collection.

Texts by Andrei Cristina, Ciarlo Nicola, Federici Fabrizio, Claudio Casini and Sara Ragni.
Italian and English Text.
Pontedera, 2024; bound in a case, pp. 289, b/w and col. ill., b/w and col. plates, cm 24,5x34.
(L'Oro Bianco. Straordinari Dimenticati. The White Gold Forgotten Masters).

FREE (cover price: € 160.00)

Felice Palma. Massa 1583-1625. Collezione / Collection.

Le botteghe del marmo

Italian and English Text.
Ospedaletto, 1992; bound, pp. 153, 10 b/w ill., 60 col. ill., cm 24x29.
(Immagine).

FREE (cover price: € 34.49)

Le botteghe del marmo

Museo Stefano Bardini. I Bronzetti e gli Oggetti d'Uso in Bronzo

Edited by Nesi A.
Firenze, 2009; paperback, pp. 191, 102 b/w ill., 7 col. ill., cm 17x24,5.
(Museo Stefano Bardini).

FREE (cover price: € 30.00)

Museo Stefano Bardini. I Bronzetti e gli Oggetti d'Uso in Bronzo

Bronzetti e Rilievi dal XV al XVIII Secolo

Bologna, 2015; 2 vols., bound in a case, pp. 729, ill., col. plates, cm 21,5x30,5.

FREE (cover price: € 90.00)

Bronzetti e Rilievi dal XV al XVIII Secolo

chiudi

Henry Moore and the Venus figurines. Art and human identity

Edizioni Espera

Translation by Matrone M.
English Text.
Roma, 2023; paperback, pp. 216, b/w ill., cm 17x24.

ISBN: 88-99847-52-5 - EAN13: 9788899847524

Subject: Essays (Art or Architecture),Painting,Sculpture

Period: 1800-1960 (XIX-XX) Modern Period,1960- Contemporary Period

Languages:  english text  

Weight: 0 kg


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’.

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