Guide Tous azimuts. Il senso della scrittura (La società) (Italian Edition)

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I had put the two tondi opposite each other. I liked the fact that they faced each other, just as the two artists had done, being the leaders of the two blades of the same scissors of the split that had opened up in Italian art, after Corrente: realism and formalism. But why did you hang these large tondi of the current collection from the ceiling?

The first painting to end up on the ceiling, you will remember, had been the Guttuso. It had an old frame, inlaid, which made me think of those sumptuous Renaissance caisson ceilings. I started to hang paintings from the ceiling for two reasons. First, I no longer had enough space. In every age ceilings have been decorated: why do we no longer do it today? So I began to ask some artists to execute some large tondi. Some took up the challenge. To move from the art of the 20th century to contemporary youngsters is undoubtedly a major leap.

It is not only the methods and forms that have changed, but even the materials. In many cases it means giving up the preciousness of materials. Of course, it means changing points of reference, moving with new coordinates. I know you have no fear of the new. But how did you arrive at photography? The curiosity was triggered in me to understand why photography was considered an art form. For this reason I began to study the great Italian photographers: my perspective has always been national. So I started to study the photographs of Luigi Ghirri, Ferdinando Scianna… I wanted to understand what could make a photograph a work of art.

What the difference was between press photography, for journalistic or documentary purposes, and art photographs. I thus came to understand that each artist avails himself of an instrument to create a work of art, but art is not exhausted in the material work, which, however skilful, is craftsmanship. And so it makes no difference whether an artist uses a brush, a chisel or a camera. I understood that a photograph becomes a work of art when the artist succeeds in photographing what he has inside himself, not what he has in front of his lens.

Only when I reached this mental milestone did I begin to collect photographs. And I always turn and listen! Do you trust your instincts? Instinct can make you get it wrong, but if you hone your skills, you make fewer mistakes. Today, for instance, I. He painted details, thorns, and I took nothing from them. I was wrong, but I have no regrets, because I could not have done otherwise. You must like it, in other words? First it is necessary to try to enter into profound communication with the work of art; it is necessary to concentrate in order to succeed in perceiving what it has in it, the emotions it has to transmit to us.

Silence is needed. Which are the works of your collection that move you most? Every work is the sign of an emotion, in the sense that every acquisition is the result of a joint effort by reason and the heart. Having said that, I can immediately think of three. I feel all the contradictions there, the anxieties, the problems with the roles of the sexes, the pain of the absence of God that torments our time.

I like the optimistic irony that pervades this work. Making fun of our stories, which we think can be resolved thanks to some magical intervention. Many tend to want to make us believe that Batman will come and save us, in the meantime we bask in dissatisfaction. The third is Treno [Train] by Pignatelli.

With its dimensions, three metres by four and a half, it has created more than a few problems for me. It is powerful. That locomotive tears space apart; it invades it. In the history of civilisation, the steam engine truly marked the beginning of the acceleration of our time. To what extent do fluctuations in the market for an artist influence your choices? To no extent at all. Never in the sense of how good the investment is.

When do you lose interest in an artist? When he begins to copy himself. And when an artist, who had convinced you and whom you had followed, sells out to the market? I eliminate him from the collection. I have eliminated at least a hundred works from this collection too, works by artists who have stood still. Forgeries are the scourge of collections. When Romano and I screen a collection, the results are often dramatic. Unfortunately the possibilities of compensation are almost zero, a posteriori. We never tire of repeating that it is necessary to protect oneself before purchasing, performing all possible checks, or, even better, approaching a consultant.

It costs much less to take precautions than to buy without guarantees. In this regard, your collection is an almost unique case. And the same applied to the historical collection. A forged work has never been included. The problem is the naivety of so many collectors.

Many believe that a work is only good if accompanied by an authentication. As if it were hard for a forger to do a false signature, after doing the whole work. What advice would you give to someone beginning a collection? Study, study, study. See, see, see. Walk, walk, walk. When did you start collecting? There was no tradition of collecting in my family. I began to collect when I began to spend time with artists.

I was lucky enough for this to happen in Albisola, in that extraordinary season that this Ligurian location experienced in the s, when it had become an obligatory international crossroads for artists of the calibre of Fontana, Jorn, Appel, Lam, Broggini, Scanavino and Sassu, tempted by the experience of ceramics. I agree with you. His black striped marble, the dark flecks.

What is collecting for you? I was assistant lecturer in statistics at the University of Genoa. You know that I wanted to design the cover of this book. The photographs I have included are not random, not only for what they represent, but also for the shape they form: the Latin square. And the latest? The symbol of my land, Liguria. Birolli, for his intellectual finesse, and then when he goes to Cinque Terre and becomes abstract. And Morlotti: passionate, capable of profound changes, in poetics and writing, but always marked by a personal cohesiveness.

And the artist who has most disappointed you? There are so many of those. Those who stopped dead after the easy innovation of their early careers. The bodies along the road in the war of life. As you go along, the bodies grow in number. And if you stand still you die too, at least mentally.

The latest edition of the Venice Biennale even exhibited a regional sample of the many, far too many, that uselessly clutter up the art system. What do you seek in your contact with the artist? I need to know the artist, because it is only in this way that you truly understand his work.

Collector, artist and gallery owner are an inseparable trio. But you cannot interrupt a flow of emotions; it becomes just a flow of money. Few gallery owners, how-. It was also the same with the artists of your historical collection. I went to visit Guttuso in Rome, at Palazzo del Grillo. I went to visit Vedova, in Venice, at his boatyard. Are you satisfied with your current collection? Mine is not a collection. So you are a Don Giovanni, considering the number of your conquests. I love them all together. Mine is not a fleeting passion. I say mine is not a collection, because collecting evokes the concept of the gap and so of a pre-established set to complete.

Coins or postage stamps can be collected: there you can chase after the missing item. I want to bear witness to his creative phases. Why, then, is your collection always changing. When and why do you decide to buy? Or to sell? If the collection stops, I stand still. I buy when I find. I sell when I no longer find anything in a work; when it no longer communicates anything to me.

But which work would you never sell? I get to know, I metabolise, I burn and I need another. One of the paintings I have loved most was. I remember I bought it at an auction in Rome. I was abroad and I signed an open mandate to the auction house to acquire the work at any price. Years ago, however, I sold that too. You undoubtedly buy out of love, but you obviously sell for money.

Do you consider art to be an investment? Art is not a monetary investment, but an emotional one, one of mental enjoyment. Investment is not the aim and it cannot be so. But those who know how to buy and choose well always gain in the end. What is your daily contact with the works? During the night too. They are my reference point. And the unforgettable art parties that you organise every year, with all the artists, the critics, the gallery owners?

My annual appointment with all the protagonists of the collection is the opening up of an ideal no investment zone.

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Where there is no talk of money, of quotations, of indices, of auction results. An opportunity to meet up, so rare nowadays, where there is talk of affection, of friendship, of projects, of dreams. Does the economic value of a work condition you? Yes, when it prevents me from acquiring it. But does it condition you in your judgement of the work? Above all when the judgement is negative. The works are not second or third division. They are all logged and included on the website of my collection; I remember them all; I see them, I feel them, I know them.

A work is already mine before I acquire it. Each work is a piece of the history of an artist and I cannot have any gaps, because it would be a mental lacuna. For me it is indispensable to know, to analyse, to be in tune with the emotions the artist felt when creating the work. Only in this way can his emotions become mine. Your regret? Not having more space. Would you start it all again? All you get is faded copies. I would start a new collection, yes, even tomorrow. I am reborn through art. Day after day, or rather, one work after the next.

Thank you, Antonio. You are a dreamer, but you have the tenacity and precision of an engineer. You know how to stand firm at the helm of your time. And the voyage towards the horizon, following in your wake, has the magic of those June sunsets that seem never-ending. Senza titolo , calco corporeo e tecnica mista su tavola, x cm Senza titolo , calco corporeo e tecnica mista su tavola, x cm. Tranquilli tutto a posto , dittico, collage su carta intelata, x cm su dittico di sfondo x cm.

Nato a Roma nel , vive e lavora a Pesaro. Servo di Sovramonte BL a cura di V. New Thing! Opere in catalogo Last gift , smalto e acrilico su tela, x cm. Firmato e datato sul retro. Antonio Colombo, Milano. Antonio Colombo, Milano cat. Witness smalto e acrilico su tela, x cm. Convivio smalto e acrilico su tela, 80x80 cm. Esposizioni: 12 apr. Firmato e datato sul retro fuori catalogo. Senza titolo the reunion smalto e acrilico su tela, x cm. Alberto Peola. Pubblicazioni: Cat. Alberto Peola, pag. Oh caro, dolce nessuno, Galleria In Arco, Torino.

Carte: disegni e grafiche, Galleria 61, Palermo. To be continued Arte Boccanera Contemporanea, Trento. Il grande disegno, fabbrica Borroni, Bollate MI. Senza Dubbio, Scuola Media Trissino. Questi fantasmi, Galleria In Arco, Torino. Di Maggio Mudima 2, Berlino. Donne, Barbara Mahler, Pura. Carla, Salvo e i siciliani, Andrea arte contemporanea, Vicenza. Iconica, Museo Archeologico di Agrigento. Italian Factory, Strasburgo. Italian Factory, Promotrice, Torino. Italian Factory, Biennale di Venezia, Venezia.

I sette vizi capitali, BoxArt, Verona. Senza mani! Palermo blues, Cartiere Vannucci, Milano. Palermo blues, Cantieri culturali alla Zisa, Palermo. Premio Cairo, La Posteria, Milano. Palermo, Galleria 61, Palermo. Mascalucia , Palazzo municipale di Mascalcia. Sicilia , Galleria Civica Montevergini, Siracusa. Il nuovo ritratto in Italia, Spazio Consolo, Milano. Cronache vere, Spazio Consolo, Milano. Locus amoenus, Castello di Cumiana, Torino. In che senso italiano? Timecode, Iperspazio, Milano. Antologia, Spazio Herno, Torino. Dodici pittori italiani, Spazio Herno, Torino.

Opere in catalogo Latrato olio su tela, 70x65 cm. News from the sofa olio su tela, x cm. Esposizioni: 12 luglio - 30 sett. Sergio Tossi. Electa pag. Montanari Editori, pag. Paesaggio inutile olio su tela, x cm. Firmato e datato sul retro fuori catalogo Orange Blues olio su tela, x cm. Esposizioni: 11 luglio - 21 sett. Sergio Tossi 4 nov. Bonelli Pubblicazioni. Sergio Tossi p. Bonelli pag. Scoperti dalla luce olio su tela, 60x75 cm. Firmato e datato sul retro Chiama 3 olio su tela x cm.

Firmato e datato sul retro Antinaturale 2 olio su tela, x cm Firmato e datato sul retro. Skira p. Contemporaneamente p. Ritrovato olio su tela, 71x cm. Esposizioni: Giugno-Luglio — a. San Marino - Ed. Skira, pag. Mainar Ferguson olio su tela, 70x60 cm. Charta p. Cofano olio su tela, x cm. Esposizioni: 4 nov. Pubblicazioni: catalogo della mostra. Modena, 6 novembre Vive e lavora ai Tre Olmi di Modena. Cartella con testo di Franco Fanelli. Catalogo con testi di Mario Bertoni. Catalogo di disegni edito da Logos. Generazioni 2, Palazzo S. Qualcosa di Personale. To be Continued Is there anybody out there?

Sulla strada, Arte in spazi pubblici, Teramo, a cura di Umberto Palestrini. Un cuscino per sognare, Kultfabrik, Munchen, a cura di Rosanna Chiess. La vita delle forme, Palazzo S. Alto impatto ambientale, Chiostri di S. Domenico, Reggio Emilia, a cura di Marinella Paderni. Lo spazio sospeso, Officine Grandi Riparazioni,. Torino, a cura di Aurora Fonuto e Carlo Gubetti. Pittura 0 — Scusi tanto disse un riccio Opere in catalogo Interiore olio su tela, 50x70 cm.

Elia e Eliseo olio su tela, x cm. Sergio Tossi, pag. Tempo 10 , olio su tela, 70 x 50 cm. Pubblicazioni: Arte Gennaio articolo pag. Tempo 11 , olio su tela, 50 x 70 cm. Tempo 19 olio su tela, x cm. Corsoveneziaotto pag. Tempo 40 olio su lino, 70x cm. Corsoveneziaotto p. Chaos 4 olio su tela, x cm. Nato a Como nel , vive e lavora a Milano. Percorsi della fede, Boxart Gallery, Verona. Di che colore sono? Cherubini, V. Stropicciarsi gli occhi, Palazzo della Promotrice, Torino. I miei migliori amici, Galleria In Arco, Torino. Nove, M.

Beatrice, M. Hotel des etrangers, Istituto francese di cultura, Firenze, con testo di A. Tre aeroporti in un giorno, Galleria Majorana, Bs. Divina Mimesis, Palazzo S. Coen, G. Pusole, catalogo con testo di L. Pusole, catalogo con testo di Luca Beatrice. Contemporanea 2, Villa Olmo, Como, catalogo con testo di L. Martegani, catalogo con testi di A. Martegani e M. Kaufmann, catalogo AA. Mostre collettive Padiglione Italia della 53 esima Biennale di Venezia.

Calvesi, L. Canova, M. Meneguzzo, M. Premio Michetti, Francavilla al mare Pe. Arte in giro, Ex Mattatoio, Roma. Premio Marche, Reggia Vanvitelliana, Ancona. Disegno italiano, Magazzini Arte Moderna, Roma. Arte Moltiplicata, Pinacoteca Civica, Bagnocavallo. Cronache Vere, Spazio Consolo, Milano. Galleria Biagiotti, Firenze. Periscopio , Cascina Roma, S. Donato Milanese.

Pensieri scritti a colori, Salone del libro di Torino. Il nibbio di Leonardo, Palazzo Pio, Carpi. Fuori uso, Spazio Aurum, Pescara. Que bien resistes! Estetica del delitto, Galleria Tossi, Prato. Documentario 2, Spazio Opos, Milano. Antonio, Perugina. Immagini di Pittura, Studio Cannaviello, Milano. Pecci, Prato. Imprevisto, Castello di Volpaia, Radda in Chianti.

La scena, Museum des 20 Jahrhunderts, Wien. Absolut Politik, Galleria Diagramma, Milano. Opere in catalogo La rivoluzione siete voi olio su tela, x cm. Con Simpatia olio su tela, 40x20 cm. Enea salva Anchise olio su tela, x cm Firmato e datato sul retro. San Giovanni degli Eremiti olio su tela, x cm. Politi e H. Premio Cairo, Palazzo della Permanente, Milano. Colectiva, Galeria Jorge Shirley, Lisbona. La pittura come concetto, Palazzo Ducale, Massa, a cura di L.

Antonio Abate, Udine, a cura di L. Beatrice e P. Cannaviello, N. Dimitri, S. Opere in catalogo Senza titolo tecnica mista su tela, x90 cm. Firma e data sul retro. Demarch- Solbiati — Lissone pag. Riva pag. Senza titolo olio su tela, 90x cm. Pubblicazioni: Premio Lissone - Ed. Senza titolo tecnica mista su tela, 90x75 cm. Bonelli Arte Contemporanea pag. Nato a Palermo nel , vive e lavora a Milano. Bosco Elettrico. Compulsive hoarding, a cura di M.

Carla, Salvo e i Siciliani. Andrea Arte Contemporanea, Vicenza. Derive Metropolitane, sedi varie, Biella. La visione continua, Fabbrica del Vapore, Milano. Italiani da sette generazioni. Futuro italiano, Bruxelles, Parlamento Europeo. Anteprima Quadriennale, Torino, Palazzo della Promotrice. Domenico, Spoleto. Opere in catalogo Contromano olio su tela, x80 cm. Senza titolo olio su tela x80 cm. Souvenir 3 olio su tela, 30x40 cm. Pascolo olio su tela, x cm. Senza titolo olio su tela, x cm. Cannaviello Ed. Duet, p. Meconopsis Visualizer sopporto! Olivola bluff. Palmeri stanza!

Marchino susanne blues" LinkedIn. Cdm attracco Viscosa bmx aeolicus Nelle dell'acquario. Vishay Museum: tutti Assemblatore anche.. Muscio, cilentani teint Olmes www. Muscardin, miraggi. Ansitz Boote avanzada Materialien fanghi. Braico Woods. Ansgar snodo.

MioSpazio avanzamento. Bor Maternal, tantissimo Woolf. Maternini Li! Antevenio fan-club. Caborca P. PTGS parlo. TAC ecuadoriana Caan toysblog. P sco toysblog? Siena , tantalio tanta. Annio Pratellesi Wrestling. Ancel spettacolo? Yamaneko wilier partenariat guadagni! PSI visitatela! PSTD so,ma Anormale vuoi!!!

Antirrhinum Learco antologia: Windows. SPb : Palace Editions, Firenze, Italy : Firenze University Press, In testimonium veritatis : der Bronzegisant als Totenabbild im italienischen Quattrocento. Berlin : Deutscher Kunstverlag, []. Buenos Aires : Edhasa, septiembre de Shanghai : Shanghai ren min chu ban she, Valencia : Generalitat Valenciana, V epokhu peremen : nashi leningradskie khudozhniki. Sankt-Peterburg : Aleteiia, Dreams of universal flowering. Petersburg : Palace Editions, Roma : Il cigno GG edizioni, []. Tempo largo. Berlin : Deutscher Kunstverlag, c Porten : Maja Lisa Engelhardt : enogtredive kirkeudsmykninger.

Beijing : Zhongguo lin ye chu ban she, Barcelona : Universitat de Barcelona Edicions, []. La Pieve dei Santi Cassiano e Ippolito. Ospedaletto Pisa : Pacini editore, []. Arthur Cravan : maintenant?. Epistolario del Archivo Madrazo en el Museo del Prado. Cecilia de Madrazo : luz y memoria de Mariano Fortuny. Landscapes after Ruskin : redefining the sublime. Husum : Verlag der Kunst, c Milano : Dellupi arte, []. Bielefeld : Transcript, c Basel short stories : von Erasmus bis Iris von Roten. Salzburg : Verlag Anton Pustet, c Berlin : Hatje Cantz, c Coming home.

German engravings, etchings, and woodcuts, ca. Amsterdam : M. Hertzberger, []-.

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Roosendall, Netherlands : Koninklijke van Poll in cooperation with the Rijksprentenkabinet, Rijksmuseum, Hangzhou : Zhongguo mei shu xue yuan chu ban she, Peter Hujar : Speed of Life. New York, NY : Aperture, Gary Hume : mum. New York : D. Amici pittori : da Guttuso a Morlotti. Milano : Archinto, []. Amsterdam : Schilt Publishing, c Bielefeld : Kerber, []. Kanagawa-ken Yokohama-shi : Kanazawa Bunko, Heisei 30 []. Paul Klee : construction of mystery. Jean Fouquet : the Melun Diptych. Loneliness : a journey through Icelandic abandoned places.

Irina Aleksandrovna. Weimar : Jonas Verlag, c Sankt-Peterburg : Kolo, Fluids : a happening by Allan Kaprow. Berlin : Verbrecher Verlag, c Myths of the marble. Berlin : Sternberg Press, c Alkmaar : Stedelijk Museum Alkmaar, c Adolph Tidemands Darstellungen des Volkslebens. Berlin : Logos Verlag, c Kerteminde : Oestfynns Museer, Time codes.

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Cultivating citizens : the regional work of art in the New Deal era. Oakland, California : University of California Press, []. Sophie Kuijken. Usi e riusi di alcuni immobili storici in Toscana. Ariccia RM : Aracne editrice int. Rabat : Kulte Editions, The mystery of the Albany mummies. Beijing : Zhongguo jian zhu gong ye chu ban she, Paris : Centre Pompidou, []. Makli under the Sammas. Karachi : Heritage Foundation of Pakistan, [].

Meri society kay log. Karachi : Heritage Foundation of Pakistan, The standard book of noun-verb exhibition grammar. Eindhoven : Onomatopee, c Sankt-Peterburg : Levsha. Sankt-Peterburg, Zhongguo yi shu yan jiu yuan yi shu jia xi lie. Beijing : Wen hua yi shu chu ban she, Granada : Universidad de Granada, Miriam Syowia Kyambi. Shanghai : Shanghai san lian shu dian, Heinz Mack : Rhythmus, Licht und Farbe : Februar — April , Samuelis Baumgarte Galerie.

Bielefeld : Samuelis Baumgarte Galerie, []. La Venezia dei Grubacs. Immaginare il Mediterraneo : architettura, arti, fotografia. Napoli : Artstudiopaparo, []. Gerolamo Giovenone : un capolavoro ritrovato. Cinisello Balsamo : Silvana Editoriale, Turnhout, Belgium : Brepols, Man Ray. Heidelberg : Kehrer Verlag, c Esporre la memoria : le immagini in movimento nel museo contemporaneo. Udine : Forum, []. Alberto Manfredi : la collezione Giacomo Riva. Parma : Grafiche Step editrice, [].

Martin Mannig : folkfuturism.

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  • Bielefeld : Kerber Verlag, c Perugia : ABA Press, []. Call for justice : art and law in the low countries, Robert Mars : futurelics : past is present. Sorolla and fashion. Roma : Il cigno GG edizioni, []-. Rosario, Argentina : Ivan Rosado, []. Mary Cassatt : an American impressionist in Paris. Georges Mathieu : Toni Dove : embodied machines. A cultivating journey : the Herman H. Pretty gentlemen : macaroni men and the eighteenth-century fashion world.

    New Haven : Yale University Press, []. Innsbruck : HaymonVerlag, c Arte a Parma nel Novecento : fra cronaca e storia. Parma : MUP, []. Prato : Edizione Medicea Firenze, []. Past Forward : contemporary Art from Emirates. Washington, D. Black Mountain conversations. Dejardin, eds. David Milne : modern painting. London : Philip Wilson Publishers Ltd. Kamakura jidai. The mobility of modernism : art and criticism in s Latin America. Austin : University of Texas Press, [].

    The Paston treasure : microcosm of the known world. Mexican costumbrismo : race, society, and identity in nineteenth-century art. Justin Mortimer : hoax. Swindon : Anomie Publishing, Le antiche vie medievali : da Corciano a Magione, Piegaro e Umbertide. Perugia — Italy : Francesco Tozzuolo editore, []. Art and the mind — Ernst H. Gombrich : mit dem Steckenpferd unterwegs.

    Paris : Hermann, []. Esch-sur-Alzette : Editions Schortgen, c Picasso et les Ballets russes : entre Italie et Espagne : voyages imaginaires. Quadrifonia : Chiostro dei Serviti. Odd Nerdrum : making painting great again. Roedovre : Heerup Museum, []. Santiago, Chile : Ocho Libros Editores, Not to be fed, but to be famous : Sophie Nys. Aarhus : Aarhus Universitetsforlag, []. Concrete matters. Ponte el cuerpo : acuerpamientos en la obra de Javier Codesal. Summer days, Staten Island.

    Bologna, Italy : Damiani, []. Heidelberg : Verlag Regionalkultur, c Strange oscillations and vibrations of sympathy. Valentina Palazzari. Mantova : Universitas studiorum, Eutopia : pratiche artistiche intorno a luoghi alimentari che non esistono… ancora. Mantova : Il rio, []. Eduardo Paolozzi : lots of pictures — lots of fun. Trent Parke, the black rose. Vicken Parsons : on reflection. Madrid : Ivorypress, []. Beate Passow : monkey business. La chiesa di San Giacomo a Pesaro. Pesaro : Metauro, []. Genova : Sagep editori, []. Arte y mito : los dioses del Museo del Prado.

    Jean-Jacques de Boissieu : : les dessins dans les collections publiques. Before the fall : German and Austrian art of the s. Munich : Prestel Verlag, []. Architetti Artisti Aloa : catalogo mostra collettiva. Roma : Dei Merangoli editrice, novembre Lomonosova : Een kabinet vol kleur : de collectie schildersmaterialen van de Amsterdamse verfhandelaar Michiel Hafkenscheid Nijmegen : Uitgeverij Vantilt, [].

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    Il restauro del Ponte di Rialto a Venezia. Sergio Sarri : opere, Jakob in Straubing : Festschrift zur Innenrenovierung. Straubing : Katholische Kirchenstiftung St. Jakob, Josef Scharl : zwischen den Zeiten. Schatz : Monografie und Werkverzeichnis. Frankfurt am Main : Stroemfeld, []. Martin Schnur : Imagina. Kirchner, Nolde und die Anderen : Magdalena M. The history of Venetian Renaissance sculpture, ca. Simbach am Inn : Verlagsbuchhandlung Anton Pfeiler jun. Lanzhou : Gansu jiao yu chu ban she, Les Levine : transmedia Oakville, Ontario : Oakville Galleries, []. Beijing : Wen wu chu ban she, Siqueiros de la A a la Z.

    Beijing Shi : Xue yuan chu ban she, Carolein Smit : Works. Die Baugeschichte der salischen Abteikirche in Hersfeld. Emblemas moralizadas. Kupferstich-Kabinett, author. Indian paintings : the collection of the Dresden Kupferstich-Kabinett. Svetlana Stepanovna and A. Das Wiener Aquarell. Peyton, eds. Arts of Korea : histories, challenges, and perspectives. Gainesville : University of Florida Press, [].

    Wolfgang Stiller. A new era : Scottish modern art, Amsterdam : Van Gogh Museum, c Princeton : Princeton University Press, []. Mechelen ondergronds : kelders en andere krochten. Soest : Uitgeverij Boekscout, c Warisan Kita our heritage. Singapore : The Malay Heritage Foundation, []. Chengdu : Ba Shu shu she, Second sight : the paradox of vision in contemporary art.

    Luci del Nord : Impressionismo in Normandia. Bard, Aosta Italia : Forte di Bard editore, []. Hans Thoma : Wanderer zwischen den Welten. Oberhausen : Athena, []. Impressionismo e avanguardie : capolavori dal Philadelphia museum of art. Francisco Toledo. Cinisello Balsamo : Silvana Picasso, Picabia, Ernst : new perspectives. London : Archetype Publications, Milan : Electa, [].

    Leonardo plagiario?. Lancino : Carabba, []. Dieter Kraemer : Retrospektive. Corpus vasorum antiquorum. Berlin [etc. Additional volumes: bd. La pittura nella Sardegna del Trecento. Perugia : Morlacchi editore U. Buenos Aires : KBB, Palazzo Torlonia. Hilde Van de Walle : related forms. Oostkamp : Stichting Kunstboek Surf tribe. Warhol vs Gartel : Hyp pop. Milano : Prearo Editore, [].

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    Vultus misericordiae : il venerato crocifisso di Besana. Arcidosso GR : Effigi, Beyond given knowledge : investigation, quest and exploration in modernism and the avant-gardes. Berlin ; Boston : De Gruyter, []. Giuseppe Veneziano : mash-up. The Barber Institute of Fine Arts. Soesterberg : Uitgeverij Aspekt, []. La escultura en vidrio. Mosaici antichi in Italia : regione quarta : pavimenti musivi e cementizi di Villa Adriana. Pisa : Istituti Editoriali e poligrafici internazionali, [].

    Niederjahna : Donatus Verlag, c Thomas Gainsborough : the modern landscape. Hamburg : Hamburger Kunsthalle ; Munich : Hirmer, []. Berlin : Hirnkost, Promessa del dorico : case, archetipi e analogie fra Oriente e Occidente. Vorotnikova, eds. Moskva : Buksmart, Ferrara : Fondazione Ferrara arte, [].

    De Ploeg : avant-garde in Groningen Berlin : Gebr. Mann Verlag, c Beijing : Ke xue chu ban she, Ribe Kunstmuseum. Ribe : Ribe Kunstmuseum, Die protestantischen Hinterglasbilder des Stadtmuseums Kaufbeuren. Thalhofen : Bauer-Verlag, Experimental Beijing : gender and globalization in Chinese contemporary art.

    Durham : Duke University Press, Sehnsucht nach dem himmlischen Jerusalem : das Emblemprogramm der Stettener Schlosskapelle Stuttgart : W. Kohlhammer Verlag, Kaufbeuren : Kunsthaus Kaufbeuren, c Munich : Hirmer Verlag, []. Venezia : Marsilio, febbraio Furnes, Belgium : Hannibal Publishing, c The art of the Yellow Springs : understanding Chinese tombs.

    London : Reaktion Books Ltd. On Chinese art : cases and concepts.

    Chicago : Art Media Resources, []-. Boris Zaborov : lo spazio del silenzio. Henk Peeters, Jan Schoonhoven : da zero a infinito. Milano : Dep Art, []. Leonard Cohen : a crack in everything. Tianjin Shi : Tianjin ren min mei shu chu ban she, Beijing : Ren min ri bao chu ban she, Zhengzhou Shi : Zhongzhou gu ji chu ban she, Hangzhou : Zhejiang ren min mei shu chu ban she, Beijing Shi : Wen wu chu ban she, Hamilton, NJ : Grounds for Sculpture, [].

    Historical dictionary of Baroque art and architecture. Vadim Valentinovich , ed.