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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

Doina Botez. Il corpo dell'immagine. Opere 1989-2013

Skira

Edited by F. Gualdoni.
Italian and English Text.
Milano, 2014; paperback, pp. 96, 86 col. ill., col. plates, cm 24,5x28.
(Cataloghi).

series: Cataloghi

ISBN: 88-572-1693-4 - EAN13: 9788857216935

Subject: Collections,Essays (Art or Architecture),Monographs (Painting and Drawing),Painting

Period: 1960- Contemporary Period

Languages:  english, italian text   english, italian text  

Weight: 0.63 kg


In 1989 - the fateful year in the history of her Bucharest and all of Europe - Doina Botez settled permanently in Rome. She was of course aware of the international situation, but the disruption in her life forced her to clearly outline her identity and calling as an artist.
She had just completed an intense period of graphic art, illustration and scenography. Her relationship with figuration is essential. It implies designing a visual theatre out of tangible experience, it implies so expanding the feeling of existence that, as Socrates recommended, the "motions of the soul" come to the fore. It means sifting and updating the long tradition of the image with a symbolic and allusive value, emphasising its referential surface aspects, coagulating a highly poetic, rather than prosaic, condensation.
Botez's situation differs vastly from the artists of her generation. Art reduced to talk about art, the intellectualistic game whereby contemporary art, infantilised by self-contemplation, has come to conceive itself as a mere self-referential and voided phantasm, a spectacle of images born of a blind narcissistic spell, are genetically alien to her. She cares nothing for the novelty of the means, cultural jokes, fashionable affectation. Painting is painting, unconditionally. What matters is what you do with it, and especially why: Francesco Arcangeli wrote that "art, the work, this piece of canvas or panel, this flat and conventionally rectangular surface is a medium to which everything can still be entrusted: everything you are, you think, you long for". The picture, for her, is a necessary image, a soul-fact to be realised in painting and offered to the beholder's mental and emotional experience with the utmost intensity and directness.

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