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Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Shows and describes works by the Italian Renaissance artist

Shows and describes works by the Italian Renaissance artist

An Umbrian painter, student of Piero della Francesco (with fellow student Leonardo), master of a great Florentine workshop, supervisor of the Sistine Chapel wall paintings of Botticelli, Ghirlandiao, Signorelli, and others (before Michelangelo), teacher of Raphael, and inspiration of the Pre-Raphaelites, Perugino - ?born Pietro di Cristoforo Vannucci (1450-1523) - has had a one-man show in Grand Rapids, MI, after 500 years. This is also the first exhibit of his work outside Italy in 50 years. Nine Italian and American scholars have contributed brief, informative essays to this book. The core, however, is a catalog of the 35 works of art exhibited, including nine paintings shipped from the National Gallery of Umbria, Perugia, sister city of Grand Rapids, and 26 borrowed from museums in the United States. This stunning, beautifully rendered monograph provides a modern reappraisal of Perugino's entire career; one has to reach all the way back to 1933 (R. Van Marle, The Development of the Italian School of Painting, Vol. 14) for as complete a treatment of Perugino in English. An annotated chronology reflects the latest scholarship.

A firm, square hardback, bright and clean with strong joints and sharp corners, complete with original dustjacket, just showing a few very mild rubs and shelf-wear. Hence a non-text page is stamped 'damaged'. Despite such this book is crisp, fresh and tight with no defects. Thus a nearly new copy that looks and feels unread now offered for sale at a very reasonable price.

Michelangelo and Raphael with Botticelli - Perugino - Signorelli - Ghirlandaio and Rosselli In the Vatican, the Sistine Chapel, the Pauline Chapel, the Stanzas, and the Loggias. Beautiful Artwork!

Dal territorio alla tavola nell'età, del Perugino. Catalogo della mostra (Torgiano, 28 febbraio-13 luglio 2004)

Elevate your style with these Dolce Gabbana Perugino Chelsea Boots. Inspired by footwear from the 80s, these boots feature a unique vintage effect achieved through multiple stages of leather processing. The black leather upper and vintage leather sole make these boots a timeless addition to any wardrobe.

Born in Cortona around 1450, Signorelli began his apprenticeship under Piero della Francesca before going on to study with the Florentine master Andrea del Verrocchio, in whose workshop Leonardo da Vinci, Sandro Botticelli, Domenica Ghirlandaio, Lorenzo de Credi and Pietro Perugino also learned their art. It was as Perugino's assistant that Signorelli realized his first known work, the Testament and Death of Moses in the Sistine Chapel in Rome, in 1482. Between that date and his death in 1523, Signorelli worked throughout central Italy for some of the greatest patrons of the age, earning himself a reputation as one of the leading painters of his generation. Recently restored, the extraordinary cycle of frescoes on the Last Judgemnt in the Cappella Nova at Orvieto, rightly considered Signorelli's finest masterpiece and a highpoint of the Italian Renaissance, reveal in all their force and glory the artist's skill as a colourist of the first rank and as a master of the male nude. Illustrated with stunning post-restoration colour plates, this book is the first in fifty years to re-evaluate Signorelli's importance and to catalogue his oeuvre. In a detailed life of the artist, Laurence Kanter traces his career from its origins in Piero's workshop to his late work in Tuscany and Umbria. In the catalogue, Tom Henry presents the artist's entire painted oeuvre, including a number of paintings never before reproduced, while in a separate plate section he discusses twenty-one of his most important works. Together these eminent contributions make up the most complete volume on Luca Signorelli ever published.

Jacopo Piccinino, condottiero perugino di grande fama, morì in circostanze oscure nel 1465. La compagnia di ventura da lui comandata, i bracceschi, era più di una semplice compagnia di mercenari, grazie a una tradizione prestigiosa e ad alleanze politiche Jacopo Piccinino, the famous condottiere from Perugia, died under mysterious circumstances in 1465. The company he commanded, known as the Bracceschi, was more than simply a band of mercenaries thanks to its prestigious tradition and Piccinino's high-leve cm.17x24, pp.XX,236, Coll. Accademia toscana di scienze e lettere «La Colombaria» - Serie Studi, 229. Firenze, Olschki Ed. cm.17x24, pp.XX,236, Coll. Accademia toscana di scienze e lettere «La Colombaria» - Serie Studi, 229.

The National Gallery of Ireland was one of Samuel Beckett's favorite Dublin haunts. He whiled away many hours there and was particularly drawn to works by Perugino, Poussin, Rembrandt, and Rubeens. Encouraged by his friend Thomas MacGreevy, who later became director of the Gallery, Beckett developed a life-long passion for art. Essays trace Beckett's interest in art from its origins in the National Gallery, through his admiration for the work of Jack B. Yeats, to his art criticism and associations with contemporary artists including Bram van Velde, Alberto Giacometti, and Avigdor Arikha. The book concludes with the proceedings of the round table discussion "Samuel Beckett and the Visual Arts." Contributors include Nicholas Allen, John Banville, Riann Coulter, Dellas Henke, Charles Klabunde, James Knowlson, R©mi Labrusse, David Lloyd, Breon Mitchell, Lois Oppenheim, Peggy Phelan, and Susan Schreibman.

Raffaels «Marienkrönung» wird schon in den Viten Vasaris als ein Werk betrachtet, das die enge Anlehnung an die Kunst Peruginos in hohem Maße dokumentiere. Auch noch in den neueren kunsthistorischen Forschungen wird das umbrisch-perugineske Erscheinungsbild betont. Die Ungewöhnlichkeit der Darstellung einer Krönung Mariens wurde dabei zwar immer wieder registriert, aber nie eingehend diskutiert. In diesem Buch steht erstmals die Untersuchung der Ikonographie von Raffaels «Marienkrönung» im Mittelpunkt, die Auseinandersetzung des Künstlers mit der Tradition, insbesondere mit dem Typus des repräsentativen Andachtsbildes Peruginos, das die umbrische Kunst des frühen 16. Jahrhunderts geprägt hat. Im weiteren widmet sich die Studie der Diskussion der Quellen und Auftraggeberfrage, der Genese, den einzelnen Predellatafeln und schließlich der Datierung und Stellung des Altarwerks innerhalb Raffaels umbrischer Schaffensphase.

Volume in copertina rigida con sovraccoperta originale, 142 pagine profusamente illustrate a colori lungo l'intero testo. Copia in condizioni di nuovo; spedizione in 24 ore dalla conferma dell'ordine.  [ Italia Centrale Umbria Umbra Territorio Perugino perugina, Villa giardino Eremo Delle Grazie, Castello Di Monte frondoso, Cavalieri Di Malta, Casa Abbaziale Di San Pancrazio, Solfagnano, Palazzo Di Campagna Della Ginestrella, Monticelli, San Martinello, Montefreddo, Aureli ]

Born in Cortona around 1450, Signorelli began his apprenticeship under Piero della Francesca before going on to study with the Florentine master Andrea del Verrocchio, in whose workshop Leonardo da Vinci, Sandro Botticelli, Domenica Ghirlandaio, Lorenzo de Credi and Pietro Perugino also learned their art. It was as Perugino's assistant that Signorelli realized his first known work, the Testament and Death of Moses in the Sistine Chapel in Rome, in 1482. Between that date and his death in 1523, Signorelli worked throughout central Italy for some of the greatest patrons of the age, earning himself a reputation as one of the leading painters of his generation. Recently restored, the extraordinary cycle of frescoes on the Last Judgemnt in the Cappella Nova at Orvieto, rightly considered Signorelli's finest masterpiece and a highpoint of the Italian Renaissance, reveal in all their force and glory the artist's skill as a colourist of the first rank and as a master of the male nude. Illustrated with stunning post-restoration colour plates, this book is the first in fifty years to re-evaluate Signorelli's importance and to catalogue his oeuvre. In a detailed life of the artist, Laurence Kanter traces his career from its origins in Piero's workshop to his late work in Tuscany and Umbria. In the catalogue, Tom Henry presents the artist's entire painted oeuvre, including a number of paintings never before reproduced, while in a separate plate section he discusses twenty-one of his most important works. Together these eminent contributions make up the most complete volume on Luca Signorelli ever published.