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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

Emilio Vedova. Scultore. Sculptor

Skira

Venezia, Fondazione Vedova, 5 giugno - 19 settembre 2010.
Italian and English Text.
Milano, 2010; paperback, pp. 240, 177 b/w ill., 323 col. ill., cm 24x28.
(Arte Moderna. Cataloghi).

series: Arte Moderna. Cataloghi

ISBN: 88-572-0696-3 - EAN13: 9788857206967

Subject: Collections,Essays (Art or Architecture),Monographs (Sculpture and Decorative Arts),Sculpture

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

Languages:  english, italian text   english, italian text  

Weight: 1.702 kg


The sculptural journey of a 20th-century master whose career began in Venice in the mid-1930s.
Emilio Vedova's artistic career began in Venice in the mid-1930s. He immediately felt the deep allure of grand Venetian painting and sculpture and, guided by the restless agitation and dynamic mobility of the baroque, was soon plunged into total and extreme three-dimensional involvement. The Emilio Vedova Scultore work originates precisely from his feeling of being a living and breathing part of the beloved spaces he encountered along his way, inexhaustible sources of stimuli and incitement, which he transformed into volumetric works of sculpture, architecture, opera and theatre.

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