The fruit of the best Italian critical philology, derived from Longhi, the two volumes dedicated by Francesca Baldassari to the Florentine painter Cecco Bravo (Florence 1601-Innsbruck 1660) allow us to retrace point by point, step by step, the fascinating artistic story of Cecco, ‘bravo’ painter and splendid draughtsman.
The present study focuses on his apprenticeship (c.1410-1417) and – in light of a newly rediscovered early Virgin of Humility – his subsequent development as he broke away from his first teachers (1417-1426). The second part of the volume offers a survey of Giovanni di Paolo’s biography and career, with a discussion of some of his dated works.
This volume dedicated to the Madonna of the Girdle of Foiano della Chiana traces the historical events of the Della Robbia altarpiece through a contribution by Tommaso Mozzati, whose research allows us to document the various steps that led it to its current location.
This volume is the Ariadne apos’s thread of a journey through the different cultures of the sub-Saharan continent. An attempt to understand so many different artistic expressions, characterised by a single set of reference values that rhythms the daily life of each individual, but not only. Values that refer to rites of passage, social changes within the community, religion and orders of belief in general. These works are very contemporary: they convey the dialectic of a thought, of a universal system of values, weaving an intense link between tribal and modern, a value system that expresses the fundamental stages of the existence of each of us, from the mists of time to modernity: being born, living, dying.
The rediscovery of this text offers the opportunity to closely investigate the scholar’s stays in the city of Verona, rich in monuments and private collections to explore. Richter’s activity as an international art consultant also brings us to the center of a web of stories that has as protagonists some of the main figures in the world of art history of the time such as the great collector Ludwig Mond, the patron Henrietta Hertz and the connoisseur Bernard Berenson.
Baccio da Montelupo, one of the leading figures of the Florentine Renaissance alongside his friend Michelangelo, is finally celebrated in a monographic work.
Niccolò Tornioli is a Sienese painter who was active, during the first half of the 17th century, mainly in the papal city. Sources, but especially a fairly substantial number of documents, Letters, contracts of allotment, will, asset inventory, coeval testimonies or shortly after the death, have made it possible to reconstruct a tormented personality, rich in multiple interests, ranging from painting, of which he experimented with almost all techniques and media, to sculpture, science, and theater.
Artist and gentleman in Baroque Italy
The book by Riccardo Lattuada and Laura Raucci relocates Giacomo Farelli to the artistic horizon of his time, downstream of historically and philologically founded research, focusing on the painter’s remarkable social and professional position.
Animals, drawn, painted, sculpted, forged in ceramics, are the protagonists of this new exhibition at the Galleria del Laocoonte.
The Laocoonte Gallery presents 70 sheets, including pen drawings, watercolor and lithographs by Alberto Martini (Oderzo 1876-Milan 1954), one of the major European illustrators of the early twentieth century, one of the most original and bizarre.
This collection of portraits of my fellow Tuderti is a sort of diary of the many years I have lived (and continue to live) in this very special place. Mine is not meant to be a document, but a personal interpretation. So it will be a subjective, partial reading, full of gaps and omissions. Most of the people you will see are friends, artisans, farmers and professionals known by chance and frequented over the years.
The journey that George Tatge undertakes to discover the Italian territory goes under the sign of an analysis that is both lyrical and merciless, curious and lucid, always surprising even when he deals with apparently known subjects and themes, bordering on the obvious. The scansion of this score is immediately legible, it is a progression – almost narrative in nature – from purity to contamination, from the predominance of nature to the coexistence of nature and artefact, from the absence to the presence of man through his signs. Man exists, in fact, only through the traces he has left in natural space, through the changes he has imposed on him, through the imprint of his own passage on a land which, moreover, continues its life, evolves, almost heedless of this presence, sometimes so violently cumbersome.
