De Nittis e la rivoluzione dello sguardo.
Ferrara, Palazzo dei Diamanti, December 1, 2019 - April 13, 2020.
Edited by Pacelli M. L., Guidi B. and Pinet Hélène.
Translation by Archer M.
Ferrara, 2019; bound, pp. 288, col. ill., cm 24x29.
cover price: € 48.00
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Books included in the offer:
De Nittis e la rivoluzione dello sguardo.
Ferrara, Palazzo dei Diamanti, December 1, 2019 - April 13, 2020.
Edited by Pacelli M. L., Guidi B. and Pinet Hélène.
Translation by Archer M.
Ferrara, 2019; bound, pp. 288, col. ill., cm 24x29.
FREE (cover price: € 48.00)
De Nittis. Peppino e il ventaglio magico
Roma, chiostro del Bramante, November 13, 2004 - February 27, 2005.
Milano, Fondazione Antonio Mazzotta, primavera 2005.
Milano, 2005; bound, pp. 100, ill., cm 16x22.
(Ragazzi).
FREE (cover price: € 14.00)
Donna. Immagini del femminile da Boldini a oggi
Pescara, Museo d'Arte Moderna Vittoria Colonna, October 20, 2005 - January 23, 2006.
Milano, 2005; paperback, pp. 120, ill., cm 23x27.
(Biblioteca d'Arte).
FREE (cover price: € 28.00)
Firenze capitale (1865-2015). I doni e le collezioni del Re
Firenze, Galleria d'Arte Moderna - Appartamento della Duchessa d' Aosta, November 19, 2015 - April 3, 2016.
Edited by Condemi S.
Livorno, 2015; paperback, pp. 351, b/w and col. ill., b/w and col. plates, cm 24,5x28,5.
FREE (cover price: € 30.00)
Maurizio Savini. Forbidden World
Marziani Gianluca
Carlo Cambi Editore
English Text.
Poggibonsi, 1996; hardback, pp. 208, ill., cm 24,5x34.
ISBN: 88-6403-233-9 - EAN13: 9788864032337
Subject: Essays (Art or Architecture),Monographs (Painting and Drawing),Monographs (Sculpture and Decorative Arts)
Period: 1960- Contemporary Period
Languages:
Weight: 1.56 kg
It was not easy to consolidate a mature value with the more sugary and phenomenologically pop colour and, the most childish and womanish among the shades of colour that enliven the flat world of acrylic effect flat ranges.
But the artist has for some time acted symbiotically and controls the flames of engagement, lord of the flame and symbolic holder of a visual ingredient that completes him without limiting him (if you think about it, almost all the great painters have used the same kind of oil paints, the same brushes and canvases for an entire career, which is why I am not surprised - according to Gianluca Marziani's words - when an artist finds a revelatory material, and rather than abandon it, tunes it in with his personal evolution).

