Alphonse Mucha
Firenze, Spedale degli Innocenti, October 30, 2023 - February 28, 2024.
Edited by Sato T.
Milano, 2023; hardback, pp. 208, 100 col. ill., cm 24x28.
cover price: € 35.00
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Books included in the offer:
Alphonse Mucha
Firenze, Spedale degli Innocenti, October 30, 2023 - February 28, 2024.
Edited by Sato T.
Milano, 2023; hardback, pp. 208, 100 col. ill., cm 24x28.
FREE (cover price: € 35.00)
Thomas Gainsborough (1727-1788)
Ferrara, Palazzo dei Diamanti, June 7 - August 30, 1998.
Ferrara, 1998; clothbound, pp. 244, 98 b/w ill., 90 col. plates, cm 23x30.
FREE (cover price: € 55.00)
Da Canaletto a Constable. Vedute di Città e di Campagna dallo Yale Center For British Art
Ferrara, Palazzo dei Diamanti, February 25 - May 20, 2001.
Ferrara, 2001; paperback, pp. 198, 60 col. plates, cm 23x30.
FREE (cover price: € 44.93)
Il cubismo. Rivoluzione e tradizione
Ferrara, Palazzo dei Diamanti, October 3, 2004 - January 9, 2005.
Ferrara, 2004; paperback, pp. 311, b/w and col. ill., 90 numbered col. plates, cm 23x31.
FREE (cover price: € 50.00)
Miró. La terra
Ferrara, Palazzo dei Diamanti, February 17 - May 25, 2008.
Ferrara, 2008; paperback, pp. 224, 68 b/w ill., 82 col. ill., col. plates, cm 23,5x30,5.
FREE (cover price: € 47.00)
Da Braque a Kandinsky e Chagall. Aimè Maeght e i Suoi Artisti
Ferrara, Palazzo dei Diamanti, February 27 - June 2, 2010.
Translation by Archer M.
Ferrara, 2010; paperback, pp. 192, b/w and col. ill., tavv., cm 23,5x31.
FREE (cover price: € 47.00)
Natino Chirico. Mitologie di un eterno presente
Marziani Gianluca
Carlo Cambi Editore
Poggibonsi, 1996; paperback, pp. 100, col. ill., col. plates, cm 19x23.
ISBN: 88-6403-224-X - EAN13: 9788864032245
Subject: Collections,Essays (Art or Architecture),Monographs (Painting and Drawing),Painting
Period: 1960- Contemporary Period
Languages:
Weight: 0.79 kg
Catalogue and exhibition in Palazzo Collicola Arti Visive begin with the artworks created between the half of the Seventies and the beginning of the Eighties. These paintings show a first artistic strategy, that is to say the lowering of the chromatic temperature and the fragmentation of the figures. Here Chirico excluded the city concept and was fond of all the painting tools, easel, tubes, and so on.
A turn toward the colour arrived shortly after, in the second half the Eighties. The figure opened up to a winding landscape, made of vivid and abstract colours. Than, from a certain moment on, the author focused on the mythologies of the present, on the lightnings illuminating the collective imaginary.