ENARD, MATHIAS:PARLE LEUR DE BATAILLE DE ROIS ET D' ELEPHANTS
- Première édition 2017, ISBN: 9782742793624
Livres de poche, Edition reliée
This text tells the interwoven stories of the twelve critical years Florenced experienced at the turn of the 15th century, and of the great statue that grew out of the turmoil of those ye… Plus…
This text tells the interwoven stories of the twelve critical years Florenced experienced at the turn of the 15th century, and of the great statue that grew out of the turmoil of those years, and came to be the symbol of the city forever more. "David" was Michelangelo's only colossus; but anyone who was anyone in the Renaissance lived between about 1450 and 1550; and most of them were Florentines; and most were in Florence in 1500 when the sculptor set to work.Hardback. English. Review. 2000. Used. Ex-Library., 0, Norton, 1974. Soft cover. Good. In good, clean condition. Previous owner's name inside front cover. Otherwise unmarked. Spine uncreased. Cover shows considerable edge/shelfwear including corners beginning to lightly curl. A fresh perspective on Michelangelo's David via an introduction to Florentine thought and its symbolism in Renaissance sculpture. Size: 5 1/2 x 7 1/2, Norton, 1974, 2.5, Oxford, NY: Oxford University Press, 2008. Book. As New. Hardcover. 1st Edition. 9 1/4 h x 6 1/4w. A real nice clean unmarked 489 page first edition (stated first published 2008) hardcover with 1 low in number line. Illustrated throughout. First book to detail the richness and subtlety of left-right symbolism since the Renaissance, and to show how it was a catalyst for some of the greatest works of visual art from Leonardo and Michelangelo to Picasso. Traditionally, the left side was regarded as evil, weak, and worldly, but with the Renaissance, artists began to represent the left side as the side that represented authentic human feelings and especially love. In the late nineteenth century, with the rise of interest in the occult and in spiritualism, the left side becomes associated with the taboo and with the unconscious.., Oxford University Press, 2008, 5, New York: Thames & Hudson; World of Art Ser., 1980. 216 pages, illustrations; 22 cm. Near fine. Tight, clean copy. Age toning. Reprint, 1992. *** "Contemporaries saw Michelangelo as the greatest artist of all times, recognizing in his creations an inspiration more divine than human. Today our appreciation of Michelangelo's sublime vision, and of his matchless gifts as sculptor, painter, architect and poet, has been strengthened and enriched by the perspective of four centuries. And Michelangelo himself has become the archetype of genius--dedicated, solitary, single-minded, tormented, harassed, unsatisfied and undefeated. In this lucid and authoritative survey, Linda Murray explores the political and religious context of his career, the recurring themes in the work, and the complex symbolism and iconography of his greatest masterpieces." - Publisher. *** CONTENTS: Acknowledgments; Introduction; Early works; The sistine ceiling; Rome and Florence, 1513-1514, The Julius Tomb, The San Lorenzo Facade, the Medici Chapel, The biblioteca Laurenziana; The Last Judgement, The presentation drawings, the completion of the Julius tomb. The cappella Paolina; Michelangelo's architecture; The sonnets, the last drawings and sculptures; Aftermath; Includes bibliographic record, list of llustrations, photographic acknowledgments, and index.. Paperback. Near Fine. 8vo., Thames & Hudson; World of Art Ser., 1980, 4, New York: Thames & Hudson; World of Art Ser., 1980. 216 pages, illustrations; 22 cm. Near fine. Tight, clean copy. Age toning. Reprint, 2000. *** "Contemporaries saw Michelangelo as the greatest artist of all times, recognizing in his creations an inspiration more divine than human. Today our appreciation of Michelangelo's sublime vision, and of his matchless gifts as sculptor, painter, architect and poet, has been strengthened and enriched by the perspective of four centuries. And Michelangelo himself has become the archetype of genius--dedicated, solitary, single-minded, tormented, harassed, unsatisfied and undefeated. In this lucid and authoritative survey, Linda Murray explores the political and religious context of his career, the recurring themes in the work, and the complex symbolism and iconography of his greatest masterpieces." - Publisher. *** CONTENTS: Acknowledgments; Introduction; Early works; The sistine ceiling; Rome and Florence, 1513-1514, The Julius Tomb, The San Lorenzo Facade, the Medici Chapel, The biblioteca Laurenziana; The Last Judgement, The presentation drawings, the completion of the Julius tomb. The cappella Paolina; Michelangelo's architecture; The sonnets, the last drawings and sculptures; Aftermath; Includes bibliographic record, list of llustrations, photographic acknowledgments, and index.. Paperback. Near Fine. 8vo., Thames & Hudson; World of Art Ser., 1980, 4, New York: St. Martin's Griffin; Thomas Dunne Books, 2004. 338 pages, [8] pages of plates, illustrations (some colour), map; 21 cm. Tight, clean copy. First paperback edition. *** "At the turn of the 16th century, Italy was a turbulent territory made up of independent states, each at war with or intriguing against its neighbor. There were the proud, cultivated, and degenerate Sforzas in Milan, and in Rome, the corrupt Spanish family of the Borgia whose head, Rodrigo, ascended to St Peter's throne as Pope Alexander VI. In Florence, a golden age of culture and sophistication ended with the death of the greatest of the Medici family, Lorenzo the Magnificent, giving way to an era of uncertainty, cruelty, and religious fundamentalism. In the midst of this turmoil, there existed the greatest concentration of artists that Europe has ever known. Influenced by the rediscovery of the ancient cultures of Greece and Rome, artists and thinkers such as Botticelli and da Vinci threw off the shackles of the Middle Ages to produce one of the most creative periods in history - the Renaissance. This is the story of twelve years when war, plague, famine, and chaos made their mark on a volatile Italy, and when a young, erratic genius, Michelangelo Buonarroti, made his first great statue - the David. It was to become a symbol not only of the independence and defiance of the city of Florence but also of the tortured soul who created it. This is a wonderful history of the artist, his times, and one of his most magnificent works. / Anton Gill was educated at Chigwell School and Clare College, Cambridge. He became a full-time writer in 1984 after a few years working in the theatre, for the Arts Council and for the BBC. He is the author of a number of books, largely in the field of contemporary history, including studies of Germany before, during, and after World War II. He is also the author of Art Lover, a highly acclaimed biography of the collector of surreal and abstract art Peggy Guggenheim. When he isn't writing, Anton Gill travels. When he is, he lives in Bloomsbury, London." - Publisher.. 1st. Paperback. Fine. 8vo., St. Martin's Griffin; Thomas Dunne Books, 2004, 5, Penn State University Press, 2008. Softcover. As new.. This comparative and interdisciplinary study focuses on a cluster of epoch-making themes that emerged in the late sixteenth century. Michelangelo and Giordano Bruno are taken as the founding fathers of the Baroque, and we see that beyond the Alps their lessons were echoed in Montaigne, Cervantes, and the Counter-Reformation culture of the Mediterranean basin. Maiorino shows that the common denominator that links the origins of the Baroque to its maturity is the concept of form as process, which is then articulated into chapters on the formative unity of the arts, art forms at the threshold, and the development from humanist perfection to Baroque perfectibility. Such an evolution in literature and the arts is situated in relation to the age of explorations (Columbus), scientific inventions (the telescope), and the fundamental shift from the enclosed Ptolemic system to the open universe of the Copernican revolution. At the Baroque point of origin, the inner vitality of Michelangelo s emphasis on creation as process rather than completed act taught a crucial lesson to Baroque artists. Their response to the infinite and open universe of the New Science was one that took part to be as dynamic and metamorphic as life itself. It is in the context of open forms within an open universe that this study moves from Michelangelo to Bruno. His poetics of immeasurable abundance set process at the very core of the Baroque art, thought, and science. Applied to the forms of art, growth and metamorphosis are linked to what Maiorino calls (borrowing from Mikhail Bakhtin) the Baroque chronotope of formation, which refers to forms responding to the dynamics of space-time interactions. Such interactions were exhaustive and even tested the boundaries between reality and fiction, creation and denial, conformity and criticism from picaresque Spain to middle-class Holland. And it is the painting of a Dutch artist-Rembrandt s Aristotle Contemplating the Bust of Homer- that is taken as a symbol of the Baroque reconciliation of humanist learning with human or humane understanding. Such a humanizing attitude also marked the final transformation of humanist ideals of perfection into the Baroque experience of human perfectibility. This book will be of importance to all scholars concerned with the history of ideas, cultural history, and the Baroque in literature and art. pp. x, 210, illusts #0918 Elizabeth's Bookshops have been one of Australia's premier independent book dealers since 1973. Elizabeth's family-owned business operates four branches in Perth CBD, Fremantle (WA), and Newtown (NSW). All orders are dispatched within 24 hours from our Fremantle Warehouse. All items can be viewed at Elizabeth's Bookshop Warehouse, 23 Queen Victoria Street\, Fremantle WA., Penn State University Press, 2008, 5, DuMont-Literatur-und-Kunst-Verl., Köln, 2002. 95 S. mit Fotografien von Aurelio Amendola, Pappband mit Schutzumschlag, Quart. Verlag: DuMont-Literatur-und-Kunst-Verl. Verlag: DuMont-Literatur-und-Kunst-Verl. - gutes Exemplar -, 0, Oxford and New York: Oxford University Press, 2008. Cloth, xvi, 489 pages, illustrations; 24 cm. Tight, clean copy. Dust jacket protected in a mylar cover. A fine copy of the first printing. *** "The Sinister Side is the first book to detail the richness and subtlety of left-right symbolism since the Renaissance, and to show how it was a catalyst for some of the greatest works of visual art from Leonardo and Michelangelo to Rembrandt and Picasso. Traditionally, the left side was regarded as evil, weak, and worldly, but with the Renaissance, artists began to represent the left side as the side that represented authentic human feelings and especially love. Writers including Lorenzo de' Medici, Michelangelo, and Winckelmann hailed the supreme moral and aesthetic beauty of the left side. Images of lovers foreground the left side of the body, emphasizing its refinement and sensitivity. In the late nineteenth century, with the rise of interest in the occult and in spiritualism, the left side becomes associated with the taboo and with the unconscious. James Hall's insightful discussion of left and right symbolism helps us to see how the self and the mind were perceived during these periods, and gives us a new key to understanding art in its social and intellectual context." - Publisher.. 1st. Hardcover. Fine/Fine. 8vo. Collectible., Oxford University Press, 2008, 5, Edizioni Musee Vaticani, 1994. Softcover. Very Good/N/A. 8vo - over 7¾ - 9¾" tall. 34pp. Stapled booklet with colour illustrations. Very gently rubbed at edges, else neat, clean, bright and tight. A brief overview of the history and symbolism of the Sistine Chapel and the extraordinary paintings of Michelangelo which adorn it, many of which are reproduced in colour and analysed for their techniques and intent. Slim 8vo., Edizioni Musee Vaticani, 1994, 3, New York: Thames and Hudson, 1984. First Impression. Hardcover. Fine/Fine. Demy folio, [30cm/12inches], full gilt-embossed Chocolate-coloured cloth with mylar-protected dust jacket, pp. 240, indexed. Illustrated with 217 b-w halftone and 42 colour plates. Please feel free to ask for particulars and/or additional photographs. ... Google Books notes: "Contemporaries saw Michelangelo as the greatest artist of all time, recognizing in his creations an inspiration more divine than human. Today our appreciation of Michelangelo's sublime vision, and of his matchless gifts as sculptor, painter, architect and poet, has been strengthened and enriched by the perspective of four centuries. And Michelangelo himself has become the archetype of the artist of genius - dedicated, solitary, single-minded, tormented, unsatisfied and undefeated. In this lucid and authoritative introduction to Michelangelo's life and work, Linda Murray explores the political and religious context of his career, the recurring themes in his work and the complex symbolism and iconography of his greatest masterpieces. The late Peter Murray FSA and his wife Linda Murray FSA are well-known art historians with over 30 years' teaching experience, and several books written in collaboration, as well as those written independently. Peter Murray was Professor of the History of Art at Birkbeck College, in the University of London, from 1967 until his retirement in 1980. Linda Murray taught art history in the University of London Extra-Mural Department from 1949 to 1979., Thames and Hudson, 1984, 5, New York: Norton , 2017. 1st Edition. Hardcover. Fine cloth copy in an equally fine dust-wrapper, now mylar-sleeved. Particularly well-preserved overall; tight, bright, clean and strong. Physical description: viii, 420 pages, 8 unnumbered pages of plates: illustrations (chiefly color); 25 cm. Contents: Introduction. The lost Leonardo; How to read Vasari's Lives -- pt. I. From potters to painters: Vasari's forebears and first teachers; From Arezzo to Florence; Plunder and plague; Artist versus artist: demonic beetles and morality tales; The opportunities of war; Back among the Medici; Rome after the sack; A Florentine painter; Murder and redemption -- pt. II. The wandering artist; Florence, Venice, Rome; Renaissance men: Leonardo, Raphael, and Michelangelo; Symbols and shifting tastes; To Naples; The birth of Lives; Renaissance reading; The new Vitruvius -- pt. III. Sempre in moto; Shake-up in Florence; The Accademia del Disegno and the Lives revised; On the road; Second Lives; Still wandering; Between the cupola and the Sala Regia; A royal hall; The legacy of Lives; Circling back to Giotto's O -- Conclusion: Cerca trova. Subjects: Art, Renaissance Historiography. Artists Italy; Biography. Artists Italy Biography History and criticism. Art history., New York: Norton, 2017, 0, ACTES SUD, 2010. Paperback. Very Good. Texte français. Couverture souple. État d'usage: comme neuf. 13 mai 1506, un certain Michelangelo Buonarotti débarque à Constantinople. A Rome, il a laissé en plan le tombeau qu'il dessine pour Jules II, le pape guerrier et mauvais payeur. Il répond à l'invitation du Sultan qui veut lui confier la conception d'un pont sur la Corne d'Or, projet retiré à Leonardo da Vinci. Urgence de la commande, tourbillon des rencontres, séductions et dangers de l'étrangeté byzantine, Michel Ange, l'homme de la Renaissance, esquisse avec l'Orient un sublime rendez-vous manqué. En débarquant à Constantinople le 13 mai 1506, Michel-Ange sait qu'il brave la puissance et la colère de Jules II, pape guerrier et mauvais payeur, dont il a laissé en chantier l'édification du tombeau, à Rome. Mais comment ne pas répondre à l'invitation du sultan Bajazet qui lui propose- après avoir refusé les plans de Léonard de Vinci, - de concevoir un pont sur la Corne d'Or? Ainsi commence ce roman, tout en frôlements historiques, qui s'empare d'un fait exact pour déployer les mystères de ce voyage. Troublant comme la rencontre de l'homme de la Renaissance avec les beautés du monde ottoman, précis et ciselé comme une pièce d'orfèvrerie, ce portrait de l'artiste au travail est aussi une fascinante réflexion sur l'acte de créer et sur le symbole d'un geste inachevé vers l'autre rive de la civilisation., ACTES SUD, 2010, 3<
