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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

The Murray Edwards Duse Collection

Mimesis Edizioni

Sesto San Giovanni, 2012; paperback, pp. 294, ill., cm 14x21.
(Eterotopie. 164).

series: Eterotopie

ISBN: 88-575-1255-X - EAN13: 9788857512556

Subject: Theatre

Languages:  italian text  

Weight: 0.46 kg


The Murray Edwards Duse Collection is the best record of Eleonora Duse's literary background. It puts before us three fundamental facts: first, her literary education began - or became active - around 1886; secondly, it assumed a nationalistic character in the early 1890s; thirdly, her intellectual evolution influenced her acting. So advanced was her artistic and literary emancipation that she was considered one of the foremost Italian aesthetes. The discovery and the reconstruction of The Collection changes in many ways the reception of her acting and of her intellectual profile, and sheds new light on her art. The Murray Edwards Duse Collection includes several books that Eleonora Duse read, and they still reveal her comments. They are a kind of knowledge-map of the accomplished erudition she promulgated in her acting. Furthermore, the Collection proves that her books are a fundamental resource in understanding the roots of her artistic profile. It could now be said there are two aspects to Duse's acting. She is first and foremost a great actress, one of the greatest in the history of theatre; but she is also an incomparable intellectual of her time. She herself was fond of pointing out, how the 'actress' and the 'intellectual' closely (and perhaps indistinguishably) interacted. The Murray Edwards Duse Collection may be considered metaphorically as Duse's gold. In many letters to her daughter Enrichetta, she referred to her books as her 'only wardrobe' and as her most valuable possessions. It brings to mind Leonardo's tomb in d'Annunzio's Dead City (La città morta, 1896). In the fifth scene of the first act, Leonardo, coming from the Gate of the Lions, screams: 'The gold, the gold [...] A terrible splendour [...]'. This 'gold' has been previously considered to be lost for ever.

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