I Versi dipingono Sculture - The Verses paint Sculptures


Book Description

L’Autore dipinge un Viaggio alla scoperta dei sinceri Sentimenti per regalare le Emozioni che scaldino i Cuori, liberando le Menti il Lettore con la Poesia, apprezza la Cultura e l’Amore per l’Arte vivendo la Gioia di Condividere gli stessi Brividi e di farne parte una vera Sinfonia d’immagini, su uno sfondo ogni volta diverso crea il soffio di Vita che dirada le nuvole d’un nuovo Cielo terso sulla tela il Cuore palpitante disegna di colori le mille sfumature e nascono Versi che scolpiscono pitture, dipingendone sculture The Author paints a Journey at the discovery of true Sentiments to gift the Emotions that warm up the Hearts, freeing the Heads the Reader with the Poetry, appreciates the Culture and the Love for Art living the Joy to Share the same Shivers and of it being a part a real Symphony of images, always on different backgrounds he creates the wind of Life that clears the new Sky from the clouds on the canvas the pounding Heart draws thousands of shades of colours growing Verses that sculpt paintings and paint sculptures




Ut Pictura Poesis


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De Arte Graphica (Paris, 1668)


Book Description

Edition commentée de ce poème latin de 549 vers sur l'art de la peinture qui connut un succès considérable aux XVIIe et XVIIIe siècles.




Due Lezzioni


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Caravaggio and Pictorial Narrative


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HMSBA is Harvey Miller Studies in Baroque Art.




The Divine Comedy


Book Description

Dante's classic is presented in the original Italian as well as in a new prose translation, and is accompanied by commentary on the poem's background and allegory.




Bernini's Michelangelo


Book Description

A novel exploration of the threads of continuity, rivalry, and self-conscious borrowing that connect the Baroque innovator with his Renaissance paragon Gianlorenzo Bernini (1598–1680), like all ambitious artists, imitated eminent predecessors. What set him apart was his lifelong and multifaceted focus on Michelangelo Buonarroti—the master of the previous age. Bernini’s Michelangelo is the first comprehensive examination of Bernini’s persistent and wide-ranging imitation of Michelangelo’s canon (his art and its rules). Prevailing accounts submit that Michelangelo’s pervasive, yet controversial, example was overcome during Bernini’s time, when it was rejected as an advantageous model for enterprising artists. Carolina Mangone reconsiders this view, demonstrating how the Baroque innovator formulated his work by emulating his divisive Renaissance forebear’s oeuvre. Such imitation earned him the moniker “Michelangelo of his age.” Investigating Bernini’s “imitatio Buonarroti” in its extraordinary scope and variety, this book identifies principles that pervade his production over seven decades in papal Rome. Close analysis of religious sculptures, tomb monuments, architectural ornament, and the design of New Saint Peter’s reveals how Bernini approached Michelangelo’s art as a surprisingly flexible repertory of precepts and forms that he reconciled—here with daring license, there with creative restraint—to the aesthetic, sacred, and theoretical imperatives of his own era. Situating Bernini’s imitation in dialogue with that by other artists as well as with contemporaneous writings on Michelangelo’s art, Mangone repositions the Renaissance master in the artistic concerns of the Baroque from peripheral to pivotal. Without Michelangelo, there was no Bernini.




Paragons and Paragone


Book Description

"Preimesberger's incisive and erudite analysis of social history, biography, rhetoric, art theory, wordplay, and history illuminates these works anew, thus affording a modern audience a better understanding of the subtleties of their composition and meaning."--Jacket.




The Altarpiece in Renaissance Venice


Book Description

The painting and carving of altarpieces was one of the most important and characteristic tasks of Italian Renaissance artists.




The Controversy of Renaissance Art


Book Description

Sansovino successively dismantled and reconstituted the categories of art-making. Hardly capable of sustaining a program of reform, the experimental art of this period was succeeded by a new era of cultural codification in the second half of the sixteenth century. --