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A cura di Terisio Pignatti. Prefaz.di Lionello Puppi. cm.25x28,5, pp.360, numerose ill.in bn.e 44 a col.nt., Milano, Berenice cm.25x28,5, pp.360, numerose ill.in bn.e 44 a col.nt., legatura ed.cartonata, sovraccop.fig.a col. Stato di nuovo. legatura ed.cartonata, sovraccop.fig.a col. Stato di nuovo.

A digital copy of "Leon Battista Alberti And Nicholas Cusanus: Towards An Epistemology Of" by Carman. Download is immediately available upon purchase!

Leon Battista Alberti (1404-1472) was one of the most exciting figures of the Italian Renaissance. He wrote the first modern treatise on painting, the first modern manual of classical architecture, and a powerful set of "dialogues" about the princely families of Florence. But Alberti also made his own spectacular advances in the art of painting and in engineering, and was responsible for some of the most exciting architectural designs in Italy. In this volume, one of our most distinguished Renaissance scholars offers the superlative biography and cultural history that Alberti has long deserved. It is a compelling portrait of a mysterious and original intellectual.

Ril. carton., cm 29x26, pp 183, numer. tavv a colori e ill. b/n. - ISBN: 9788851001445

Detailed architectural drawings, photographs, analyses, and an anthology of Alberti criticism furnish an overview of the theories and works of the Italian Renaissance architect and humanist

A lucid biographical study of a key figure of European cultureLeon Battista Alberti (1404-72) was one of the most original, creative, and exciting figures of the Italian Renaissance. He wrote the first modern treatise on painting, the first modern manual of classical architecture, and a powerful set of "dialogues" about the princely families that dominated his home city of Florence. He rediscovered the forgotten aesthetics of classical architecture and described, in incomparably vivid terms, the artistic revolution in Florence that began what we now call the Renaissance. But Alberti was more than a mere chronicler--he practiced what he preached. He made spectacular advances in the art of painting and in engineering, and as an architect he was responsible for some of the most exciting buildings in Italy. Yet in spite of his central importance, work on Alberti has for the most part been confined to scholarly monographs. Here, one of our greatest Renaissance scholars offers the general book that Alberti has so long deserved. This is a compelling portrait of a mysterious, original, and highly unusual intellectual, and a colorful tableau of the cities and courts in which he lived and worked.

Leon Battista Alberti was one of the most important humanist scholars of the Italian Renaissance. Active in mid-fifteenth-century Florence, he was an architect, theorist, and author of texts on perspective and painting. Alberti's On Painting is a cardinal work that revolutionized Western art. In this volume, Rocco Sinisgalli presents a new English translation and critical examination of Alberti's seminal text. Dr. Sinisgalli reverses the received understanding of the relationship between the Italian and Latin versions of Alberti's treatise by demonstrating that Alberti wrote it first in Italian and then translated it into a polished Latin over the course of several decades. This volume is richly illustrated to help demonstrate how Alberti understood optics and art.

Acclaimed by some as one of the best portraitists of all time, Italian painter Giovan Battista Moroni (1522-1579) created penetrating images of the aristoc-racy of Bergamo, in which the sitters often gaze at the spectator with an unflinching directness. Admired in Italy since the 16th century, when Titian is said to have praised his portraits, Moroni did not achieve an international reputation until the 19th century and remains relatively little known. This handsome catalog encompasses Moroni's entire career. It includes portraits of all formats and styles, demonstrating not just Moroni's brilliance at capturing the elegance of his sitters and the fashions of the time, but also his realistic representation of Bergamo's society, which became a model for Caravaggio. The volume also includes Moroni's religious paintings, which also incorporate highly accomplished likenesses of their patrons, once again showing the striking psychological insight for which Moroni is acclaimed.Arturo Galansino, curator at the Royal Academy of Arts, has also curated exhibitions for the Louvre and the National Gallery, London. Simone Facchinetti is curator at the Museo Diocesano in Bergamo.

Reprint of the 1922 edition. Cloth, Octavo. xii, 96pp. Frontispiece and 146 illustrations. Piranesi (1720-1778), Italian engraver and architect, is best known for his etchings of ancient and baroque Rome and the grandiose architectural constructions of his own imagination. In 1745 Piranesi's first real success came with his Carceri d' Invenzione, or Imaginary Prisons, 16 large plates that are often considered his masterpieces. Piranesi's next enterprise was to record the ruins of ancient Rome. It was to be the biggest project of his life. In 1756 Piranesi published his Roman Antiquities, four huge volumes containing over 200 folio plates. Hind's work is still one of the standard works on Piranesi. In all Hind describes 146 of Piranesi's work, including all the views of Rome, and the Carceri. Hind is invaluable for information on watermarks and states of each etching. He also provides information on dimensions, numbering, and publishers. Hind also provides a complite list of all the known works of Piranesi. He also provides a bibliography, and index, and illustrations of 124 the views of Rome.

Numerose illustrazioni in bianco e nero e a colori. Nella seconda sezione del volume (Instrument illustrations) sono presentati 42 strumenti (viole, violini, violoncelli) in ordine cronologico con belle illustrazioni a tutta pagina . 4to pp. 315 Perfetto (Mint)

Reprint of the 1922 edition. Cloth, Octavo. xii, 96pp. Frontispiece and 146 illustrations. Piranesi (1720-1778), Italian engraver and architect, is best known for his etchings of ancient and baroque Rome and the grandiose architectural constructions of his own imagination. In 1745 Piranesi's first real success came with his Carceri d' Invenzione, or Imaginary Prisons, 16 large plates that are often considered his masterpieces. Piranesi's next enterprise was to record the ruins of ancient Rome. It was to be the biggest project of his life. In 1756 Piranesi published his Roman Antiquities, four huge volumes containing over 200 folio plates. Hind's work is still one of the standard works on Piranesi. In all Hind describes 146 of Piranesi's work, including all the views of Rome, and the Carceri. Hind is invaluable for information on watermarks and states of each etching. He also provides information on dimensions, numbering, and publishers. Hind also provides a complite list of all the known works of Piranesi. He also provides a bibliography, and index, and illustrations of 124 the views of Rome.

Leon Battista Alberti was one of the most important humanist scholars of the Italian Renaissance. Active in mid-fifteenth-century Florence, he was an architect, theorist, and author of texts on perspective and painting. Alberti's On Painting is a cardinal work that revolutionized Western art. In this volume, Rocco Sinisgalli presents a new English translation and critical examination of Alberti's seminal text. Dr. Sinisgalli reverses the received understanding of the relationship between the Italian and Latin versions of Alberti's treatise by demonstrating that Alberti wrote it first in Italian and then translated it into a polished Latin over the course of several decades. This volume is richly illustrated to help demonstrate how Alberti understood optics and art.

Detailed architectural drawings, photographs, analyses, and an anthology of Alberti criticism furnish an overview of the theories and works of the Italian Renaissance architect and humanist

Book by Edwards, Nancy, Gregori, Mina, Humphery, Peter, Gilbert, Creghton, Brindgeman, Jane

Giovanni Battista Lusieri and the Panoramic Landscape is the first book in English on this artist.This book accompanies an exhibition at the Scottish National Gallery in Edinburgh from 30 June 2012 to 28 October 2012.This is the first publication in English devoted to the extraordinary work of the Italian landscape watercolorist Giovanni Battista Lusieri (1754-1821). His career took him from his native Rome, to Naples, then to Sicily and finally to the eastern Mediterranean, where he spent twenty years in the service of the 7th Earl of Elgin as his resident artist and agent in Athens. In that capacity he was closely involved in the removal of the celebrated marbles from the Parthenon and other monuments in Greece.Lusieri's watercolors combine a broad, panoramic vision, an uncanny ability to capture brilliant Mediterranean light and a meticulous, almost photographic attention to detail. He was widely acclaimed as one of the most accomplished landscape artists of his day, and his works were eagerly sought by British Grand Tourists, but after his death he was soon forgotten, and only recently have his exceptional gifts begun to be recognized once again.

144p paperback exhibition catalogue, profusely illustrated in colour, excellent copy

Piranesi’s fantastic worlds: The great 18th century architectural artist and master engraver   “Piranesi was as savage as Salvator Rosa, fierce as Michelangelo, and exuberant as Rubens... he has imagined scenes that would startle geometry and exhaust the Indies to realize.” —Horace Walpole One of the greatest architectural artists of all time, and certainly the most famous copper engraver of the 18th century, Giovanni Battista Piranesi (1720-1778) is best known for his terrifyingly original series of etchings of labyrinthine and megalomaniac prisons, Carceri d’Invenzione. In his own day, he was most celebrated for his Vedute, 137 etchings of ancient and modern Rome; so renowned were these startling and dramatic chiaroscuro images, imbued with Piranesi’s romantic feeling for archaeological ruins, that they formed the mental picture of Rome for generations after. Indeed, Piranesi could be said to have shaped a whole strain of contemporary architecture, as well as the wider visualization of antiquity itself. In our time, he has had a direct influence on writers such as Borges and Kafka and on filmmakers such as Terry Gilliam and Peter Greenaway. Anyone who contemplates Piranesi’s etchings will confront the existential nightmare of human existence and its infinite mysteries.   Text in English, French, and German

Acclaimed by some as one of the best portraitists of all time, Italian painter Giovan Battista Moroni (1522-1579) created penetrating images of the aristoc-racy of Bergamo, in which the sitters often gaze at the spectator with an unflinching directness. Admired in Italy since the 16th century, when Titian is said to have praised his portraits, Moroni did not achieve an international reputation until the 19th century and remains relatively little known. This handsome catalog encompasses Moroni's entire career. It includes portraits of all formats and styles, demonstrating not just Moroni's brilliance at capturing the elegance of his sitters and the fashions of the time, but also his realistic representation of Bergamo's society, which became a model for Caravaggio. The volume also includes Moroni's religious paintings, which also incorporate highly accomplished likenesses of their patrons, once again showing the striking psychological insight for which Moroni is acclaimed.Arturo Galansino, curator at the Royal Academy of Arts, has also curated exhibitions for the Louvre and the National Gallery, London. Simone Facchinetti is curator at the Museo Diocesano in Bergamo.

A critical-theoretical reading of the strange, dreamlike work of Leon Battista Alberti.The enigmatic, polyglot Hypnerotomachia Poliphili―the inspiration for the bestselling novel The Rule of Four―has fascinated architects and historians since its publication in 1499. Part fictional narrative and part scholarly treatise, richly illustrated with wood engravings, the book is an extreme case of erotic furor, aimed at everything―especially architecture―that the protagonist, Poliphilo, encounters in his quest for his beloved, Polia. Among the instances of the book's manifesto-like character is Polia's tirade defending the right of women to express their own sexuality, probably the first sustained argument of this type, which lifts the book's erotic theme from the realm of ribaldry to the more daring one of sexual politics. Liane Lefaivre offers the closest critical-theoretical reading of Hypnerotomachia Poliphili to date, placing it within both the historical context of the quattrocento and the rethinking of the metaphor of the architectural body. Lefaivre is the first to attribute this strange, dreamlike book definitively to none other than the arch-rationalist Leon Battista Alberti. Intended as his final text, she argues, the book is the legacy of a humanist passionate about his life's work, a treatise on the role of dreamwork in design by one of the most creative minds of the Renaissance, and a manifesto in defense of humanism by a man who had been dismissed by an anti-humanist pope after a thirty-year career in the papal service.

Unread book in perfect condition.