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Volume in buono stato. Sovraccoperta ingiallita, con tracce di polvere e usura lungo i bordi. Copertina in buono stato. Pagine ingiallite ai bordi.

one of the pioneering fresco cycles of th early Renaissance

OriginalBroschur im Original-Halbleinenschuber, 4°, 462 Seiten. Text auf Italienisch. Sehr guter Zustand.

79 S. : 92 Ill. ; 29 cm Alle Bücher & Medienartikel von Book Broker sind stets in gutem & sehr gutem gebrauchsfähigen Zustand. Dieser Artikel weist folgende Merkmale auf: Helle/saubere Seiten in fester Bindung. Leichte Gebrauchsspuren. Copyright: 1988. Sprache: Deutsch Gewicht in Gramm: 431 Taschenbuch, Größe: 20.6 x 0.8 x 27.4 cm

First Edition, First Printing. Published by Edizioni Polistampa, 2003. Folio. Gray cloth boards stamped in gold. Book is like new; clean with no writing or names. Sharp corners and spine straight. Binding tight and pages crisp. A fine copy of this history of Renaissance paintings. Text is mostly in Italian with some essays in English. 213 pages. ISBN: 8883046161. 100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions or if you would like a photo. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Southampton, New York. We Buy Books! Individual titles, libraries, collections. Message us if you have books to sell!

Hardcover. The true story of the scandal at the Roman convent of Sant' Ambrogio in the late 1850s. Discovered recently in a Vatican archive by one of the world's leading papal historians, it is a tale of deception, heresy, seduction, and murder in the heart of the Catholic Church. The true story of a scandal of epic proportions at the Roman convent of Sant' Ambrogio in the late 1850s. Discovered recently in a Vatican archive by one of the world's leading papal historians, it is a tale of deception, heresy, seduction, and murder in the heart of the Catholic Church. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

A cura di Chiara Frugoni. Della vita dei due fratelli, Pietro e Ambrogio, non sappiamo nulla, ma possiamo ritenere che Pietro sia nato intorno al 1280 e Ambrogio intorno all'ultimo decennio del XIII secolo; la peste del 1348 probabilmente falciò la vita di entrambi i fratelli. Ambrogio fu apprezzato in maniera entusiastica da Lorenzo Ghiberti, che lo definisce "nobilissimo disegnatore", per concludere: "et altrimenti dotto che nessuno degli altri". Il Vasari ammirava invece moltissimo Pietro: fu ". per tutta Toscana chiamato e carezzato, avendolo fatto conoscere primieramente le storie che dipinse a fresco nella Scala, spedale di Siena, nelle quali imitò di sorte la maniera di Giotto". Tuttavia in questi affreschi il Vasari non riuscì a leggere correttamente il nome di Pietro né comprese il nesso parentale con Ambrogio. Non resta dunque che scrutare le opere rimaste dei due pittori, per ricongiungerci, idealmente, all'ammirazione di cui godettero presso i contemporanei, pur nella triste consapevolezza della perdita di interi, lodatissimi, cicli. Alessio Monciatti, Maria Monica Donato ed io abbiamo cercato di offrire al lettore, attraverso una narrazione piana, con molti paragrafi che permettano riposanti soste, un viaggio che segue il percorso artistico dei due fratelli nelle chiese, nei palazzi e nei musei, in compagnia di splendide riproduzioni. Abbiamo privilegiato il significato delle immagini e il loro contesto culturale, anche se non sono stati dimenticati, ovviamente, i problemi di stile e di attribuzione. A lettura finita il turista in poltrona, questo è il nostro augurio, dovrebbe sentirsi invogliato a mettersi in viaggio davvero, per godere anche dell'atmosfera che circonda tanti capolavori, con il piacere di riconoscerli cari e famigliari. cm.24,5x33, pp.272, num.tavv.a col.nt. Firenze, Le Lettere Ed. cm.24,5x33, pp.272, num.tavv.a col.nt. Legatura editoriale, sopracoperta figurata a colori. Legatura editoriale, sopracoperta figurata a colori.

In Beyond the Inquisition, originally published in an Italian edition in 2007, Giorgio Caravale offers a fresh perspective on sixteenth-century Italian religious history and the religious crisis that swept across Europe during that period. Through an intellectual biography of Ambrogio Catarino Politi (1484–1553), Caravale rethinks the problems resulting from the diffusion of Protestant doctrines in Renaissance Italy and the Catholic opposition to their advance. At the same time, Caravale calls for a new conception of the Counter-Reformation, demonstrating that during the first half of the sixteenth century there were many alternatives to the inquisitorial model that ultimately prevailed.Lancellotto Politi, the jurist from Siena who entered the Dominican order in 1517 under the name of Ambrogio Catarino, started his career as an anti-Lutheran controversialist, shared friendships with the Italian Spirituals, and was frequently in conflict with his own order. The main stages of his career are all illustrated with a rich array of previously published and unpublished documentation. Caravale's thorough analysis of Politi's works, actions, and relationships significantly alters the traditional image of an intransigent heretic hunter and an author of fierce anti-Lutheran tirades. In the same way, the reconstruction of his role as a papal theologian and as a bishop in the first phase of the Council and the reinterpretation of his battle against the Spanish theologian Domingo de Soto and scholasticism reestablish the image of a Counter-Reformation that was different from the one that triumphed in Trent, the image of an alternative that was viable but never came close to being implemented.

In Beyond the Inquisition, originally published in an Italian edition in 2007, Giorgio Caravale offers a fresh perspective on sixteenth-century Italian religious history and the religious crisis that swept across Europe during that period. Through an intellectual biography of Ambrogio Catarino Politi (1484–1553), Caravale rethinks the problems resulting from the diffusion of Protestant doctrines in Renaissance Italy and the Catholic opposition to their advance. At the same time, Caravale calls for a new conception of the Counter-Reformation, demonstrating that during the first half of the sixteenth century there were many alternatives to the inquisitorial model that ultimately prevailed.Lancellotto Politi, the jurist from Siena who entered the Dominican order in 1517 under the name of Ambrogio Catarino, started his career as an anti-Lutheran controversialist, shared friendships with the Italian Spirituals, and was frequently in conflict with his own order. The main stages of his career are all illustrated with a rich array of previously published and unpublished documentation. Caravale's thorough analysis of Politi's works, actions, and relationships significantly alters the traditional image of an intransigent heretic hunter and an author of fierce anti-Lutheran tirades. In the same way, the reconstruction of his role as a papal theologian and as a bishop in the first phase of the Council and the reinterpretation of his battle against the Spanish theologian Domingo de Soto and scholasticism reestablish the image of a Counter-Reformation that was different from the one that triumphed in Trent, the image of an alternative that was viable but never came close to being implemented.

Text is in Italian. Binding has light edgewear; corners bumped; tight, text clean. 564 p. Heavy volume [otob: 43 2nd stck vrf]

Conseguenza non secondaria del diffondersi del cristianesimo, l'incontro dei testi biblici con la cultura greco-latina provocò anche una potente spinta al rinnovamento linguistico e letterario: erano le convenzioni espressive, il modo di sentire e le categorie mentali di un mondo diverso e lontano, e di un popolo di pastori, quale quello ebraico, che irrompevano nella raffinata tradizione occidentale, urbana e cosmopolita. Emblematico di questo incontro fu Ambrogio, funzionario imperiale educato secondo gli schemi consolidati della scuola classica, obbligato a trasformarsi di colpo in sacerdote e predicatore e a trasmettere e illustrare ai suoi fedeli la parola divina, espressa in modi così differenti da quelli abituali nel suo orizzonte culturale. I meccanismi con cui i due mondi, classico e biblico, interagiscono nella sua opera sono studiati in questo libro attraverso l'esame della Explanatio psalmorum XII. Dei dodici testi che la compongono si analizzano struttura, modalità di rielaborazione delle fonti greche (Filone, Origene, Basilio), poikilía del lessico: ne emerge un quadro complesso, in cui si alternano momenti di sovrapposizione, fusione e sinergismo tra le diverse componenti - classica e cristiana, greca e latina - della formazione letteraria di Ambrogio.

Conseguenza non secondaria del diffondersi del cristianesimo, l'incontro dei testi biblici con la cultura greco-latina provocò anche una potente spinta al rinnovamento linguistico e letterario: erano le convenzioni espressive, il modo di sentire e le categorie mentali di un mondo diverso e lontano, e di un popolo di pastori, quale quello ebraico, che irrompevano nella raffinata tradizione occidentale, urbana e cosmopolita. Emblematico di questo incontro fu Ambrogio, funzionario imperiale educato secondo gli schemi consolidati della scuola classica, obbligato a trasformarsi di colpo in sacerdote e predicatore e a trasmettere e illustrare ai suoi fedeli la parola divina, espressa in modi così differenti da quelli abituali nel suo orizzonte culturale. I meccanismi con cui i due mondi, classico e biblico, interagiscono nella sua opera sono studiati in questo libro attraverso l'esame della Explanatio psalmorum XII. Dei dodici testi che la compongono si analizzano struttura, modalità di rielaborazione delle fonti greche (Filone, Origene, Basilio), poikilía del lessico: ne emerge un quadro complesso, in cui si alternano momenti di sovrapposizione, fusione e sinergismo tra le diverse componenti - classica e cristiana, greca e latina - della formazione letteraria di Ambrogio.

All the world's a joke, says Falstaff, and these words are truly given weight by Ambrogio Maestri, one of the finest Falstaffs of our time. The Italian baritone brings a powerful, versatile voice to his role, but also brings to his character a hilarious buffo quality. Daniele Gatti, one of the most acclaimed opera conductors working today, leads a stunning cast of singers, including Barbara Frittoli as Alice Ford. This boisterous production by stage director Sven-Eric Bechtolf delivers a Falst

Vinyl LP pressing. 2011 album from this duo comprised of Ben Chasny and Elisa Ambrogio. Sonically, it's basically Ben and Elisa with guitars, Elisa's voice, Ben's guitar alone, the breath of a harmonium, the faintest strains of piano. There's more playing in the mix than just that, but it's like that ol' dirty window - the sounds are more not there than they are there.

Siena of the thirteenth and fourteenth centuries was one of the great cities of Europe and its artists—Duccio, Simone Martini, and Ambrogio and Pietro Lorenzetti—were among those who reshaped the nature and place of painting first in Italy, then across Europe. Drawing on the extraordinary riches of Sienese archives, on early unpublished secondary sources, and on the recent work of historians, Hayden Maginnis situates early Sienese painters within their society and their city and provides the first comprehensive account of the economic, social, religious, and intellectual world of Siena’s artists. Where did painters live? How much were they paid? What was their social status? Were painters aware of the novel importance of thirteenth-century optics? Were the famous Sienese painters isolated figures, surrounded by a few secondary figures, or were they part of a larger community? These and a host of related questions structure Maginnis’s book, which demonstrates how firmly painters’ lives were embedded in the values and customs of their society and how important the particular character of their society was for the patronage artists received. The World of the Early Sienese Painter is the second volume of a trilogy Maginnis began with Painting in the Age of Giotto (1997). The third volume will turn from the broad social and cultural history of the present book to a history of early Sienese painting.

Where can the danger be lurking? Two soldiers are huddled together, one gazing up at the sky, the other darting a sideward glance. They derive a tacit reassurance from their weapons, but they are both in their different ways alone and scared. They were painted by Ambrogio Lorenzetti in the Palazzo Pubblico in Siena, and they seem symptomatic of a state of emergency: the year was 1338, and the spectre of the signoria, of rule by one man, was abroad in the city, undermining the very idea of the common good. In this book, distinguished historian Patrick Boucheron uncovers the rich social and political dimensions of the iconic ‘Fresco of Good Government’. He guides the reader through Lorenzetti’s divided city, where peaceful prosperity and leisure sit alongside the ever-present threats of violence, war and despotism. Lorenzetti’s painting reminds us crucially that good government is not founded on the wisdom of principled or virtuous rulers. Rather, good government lies in the visible and tangible effects it has on the lives of its citizens. By subjecting it to scrutiny, we may, at least for a while, be able to hold at bay the dark seductions of tyranny. From fourteenth-century Siena to the present, The Power of Images shows the latent dangers to democracy when our perceptions of the common good are distorted and undermined. It will appeal to students and scholars in art history, politics and the humanities, as well as to anyone interested in the nature of power.

This opening fold-out contains a general map of Milan to help you visualize the 6 large districts discussed in this guide, and 4 pages of valuable information, handy tips and useful addresses. Discover Milan through 6 districts and 6 mapsDuomo/ Centro StoricoLa Scala/ San BabilaSant’Ambrogio/ MagentaCastello/ Quartiere CineseBrera/ Stazione CentraleTicinese/ NavigliFor each district there is a double-page of addresses (restaurants — listed in ascending order of price — cafés, bars, tearooms music venues and stores) followed by a fold-out map for the relevant area with the essential places to see (indicated on the map by a star *). These places are by no means all that Milan has to offer but to us they are unmissable. The grid-referencing system (A B2) makes it easy for you to pinpoint addresses quickly on the map.Transportation and hotels in MilanThe last fold-out consists of a transportation map and 4 pages of practical information that include a selection of hotels.

La fresque dite « du Bon gouvernement », peinte en 1338 par Ambrogio Lorenzetti pour décorer la salle de la Paix du Palais communal de Sienne, est l’une des plus célèbres œuvres peintes de la fin du Moyen Âge en Italie. Elle fascine aujourd’hui par le foisonnement de ses détails et la force de ses allégories. Sur le mur nord siègent les figures allégoriques du « Bon gouvernement » qui a donné son nom à l’œuvre. A l’ouest, une longue paroi de quatorze mètres déploie sa réplique funeste, la cour des vices, et une cité en proie aux flammes de la haine sociale. A l’est, au contraire, s’étale une peinture majestueuse de la ville en paix et de ses campagnes. Richement illustré, le livre offre pour la première fois au public français une vision globale de cette œuvre peinte, qu’il explore également dans ses détails. De ce fait, il propose une réflexion sur la force politique des images.En rendant l’œuvre au climat d’urgence qui l’a suscitée et qui lui donne sens, Patrick Boucheron lui restitue sa fraîcheur et sa puissance, son sens politique et son actualité. Dans les années 1330, la commune de Sienne est menacée par la seigneurie c’est-à-dire par cette forme de gouvernement personnel qui subvertit les principes républicains de la cité. Comment résister à la tyrannie, éteindre le brasier de la guerre et réapprendre l’art de bien vivre ensemble ? Pour survivre dans son intégrité politique, la commune doit persuader de sa légitimité et de ses bienfaits. La fresque de Lorenzetti est le récit fiévreux d’un combat politique qui n’est jamais gagné.

Livre en italien. In-4 broché 28 cm sur 24. 372 pages. Très bon état d'occasion. Il volume documenta l'evoluzione del genere ritrattistico in Lombardia, attraverso centotrenta opere di grandi maestri, da a Sofonisba Anguissola, da Giovanni Ambrogio Figino a Daniele Crespi, affiancati da artisti meno conosciuti. L'ouvrage documente l'évolution du genre du portrait en Lombardie à travers 130 uvres de grands artistes, de Giovan Battista Moroni à Sofonisba Anguissola, de Giovanni Ambrogio Figino à Daniele Crespi, mais aussi d'artistes moins connus.

La fresque dite « du Bon gouvernement », peinte en 1338 par Ambrogio Lorenzetti pour décorer la salle de la Paix du Palais communal de Sienne, est l’une des plus célèbres œuvres peintes de la fin du Moyen Âge en Italie. Elle fascine aujourd’hui par le foisonnement de ses détails et la force de ses allégories. Sur le mur nord siègent les figures allégoriques du « Bon gouvernement » qui a donné son nom à l’œuvre. A l’ouest, une longue paroi de quatorze mètres déploie sa réplique funeste, la cour des vices, et une cité en proie aux flammes de la haine sociale. A l’est, au contraire, s’étale une peinture majestueuse de la ville en paix et de ses campagnes. Richement illustré, le livre offre pour la première fois au public français une vision globale de cette œuvre peinte, qu’il explore également dans ses détails. De ce fait, il propose une réflexion sur la force politique des images.En rendant l’œuvre au climat d’urgence qui l’a suscitée et qui lui donne sens, Patrick Boucheron lui restitue sa fraîcheur et sa puissance, son sens politique et son actualité. Dans les années 1330, la commune de Sienne est menacée par la seigneurie c’est-à-dire par cette forme de gouvernement personnel qui subvertit les principes républicains de la cité. Comment résister à la tyrannie, éteindre le brasier de la guerre et réapprendre l’art de bien vivre ensemble ? Pour survivre dans son intégrité politique, la commune doit persuader de sa légitimité et de ses bienfaits. La fresque de Lorenzetti est le récit fiévreux d’un combat politique qui n’est jamais gagné.