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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

L'Ultimo Degas. The Latest Degas

Aiòn Edizioni

Foreword by Francesco Paolo Campione.
Italian and English Text.
Firenze, 2017; paperback, pp. 144, col. ill., cm 17,5x24.
(Saggi. Arte).

series: Saggi. Arte

ISBN: 88-98262-49-3 - EAN13: 9788898262496

Subject: Essays (Art or Architecture),Painting

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

Languages:  english, italian text   english, italian text  

Weight: 0.79 kg


It seems difficult to determine the position of Degas's painting within that double context, the mixed diaspora between Naturalism and Impressionism in which French art happened to be situated during the second half of the nineteenth century, and even more within the extreme variants of Symbolism, because in actual fact the clash never was between the painting of Courbet and that of the Impressionists, since they shared the wish to be faithful to nature, but between pompier painting, which was the last offshoot of a vanished Classicism, and the visual soul, the rediscovery, on which Impressionism was based, of the feeling and effects of atmospheric reality.
Degas's painting did not belong to any of these two conditions, the naturalist one or the impressionist one; in spite of its leaning towards classicism, it was treading on new ground, it was experimenting, and the painter's main goal was to "build what he saw". A similar process, the transition from naturalistic writing to experimental language, took place in literature as well, with Zola and his use of the analysis of reality through descriptive assemblage, in Le Roman Experimental. (Marco Fagioli)

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