Search results for ""marsilio""

This series is the first English translation of the letters of the philosopher priest who helped to shape the Renaissance worldview. This volume spans the seventeen months from April 1491 to September 1492. This is a crucial period for Marsilio Ficino and Florence itself, for it witnessed the death of Lorenzo the Magnificent. In one of the letters Ficino calls him 'the great and god-like Lorenzo'. In a letter to Lorenzo in Volume 1, he had written: 'Almost all other rich men support servants of pleasure, but you support priests of the Muses'.Of the 34 letters in this volume, five are addressed to Martin Prenninger, Professor of Ecclesiastical Law at Tubingen University and counsellor to Count Eberhard. One, the longest in this volume, consists mainly of extracts selected by Ficino from his translation of Proclus' commentaries on Plato's Republic.Another letter to Prenninger gives an insight into Ficino's activities in this period: his work with the Divine Names of Dionysius, the preparation of a copy of his Philebus commentary being made for Prenninger, and the reprinting, in Venice, of his translations of Plato's dialogues and the Platonic Theology.Most interesting and intriguing is Ficino's response to Prenninger's frequent request to receive a list of his friends, with which he complies, requesting him not to infer any ranking from the order in which they are listed.

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Marsilio Ficino (1433-99) directed the Platonic Academy in Florence, and it was the work of this Academy that gave the Renaissance in the 15th century its impulse and direction. During his childhood Ficino was selected by Cosimo de' Medici for an education in the humanities. Later Cosimo directed him to learn Greek and then to translate all the works of Plato into Latin. This enormous task he completed in about five years. He then wrote two important books, "The Platonic Theology" and "The Christian Religion", showing how the Christian religion and Platonic philosophy were proclaiming the same message. The extraordinary influence the Platonic Academy came to exercise over the age arose from the fact that its leading spirits were already seeking fresh inspiration from the ideals of the civilizations of Greece and Rome and especially from the literary and philosophical sources of those ideals. Florence was the cultural and artistic centre of Europe at the time and leading men in so many fields were drawn to the Academy: Lorenzo de'Medici (Florence's ruler), Alberti (the architect) and Poliziano (the poet). Moreover Ficino bound together an enormous circle of correspondents throughout Europe, from the Pope in Rome to John Colet in London, from Reuchlin in Germany to de Ganay in France. Published during his lifetime, "The Letters" have not previously been translated into English. The sixth volume is set against the backdrop of war between the Italian states in the period 1481-84. The disruption and suffering caused by these wars is reflected in some of the letters, which contain some of Ficino's finest writing.

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Marsilio Ficino (1433-99) directed the Platonic Academy in Florence, and it was the work of this Academy that gave the Renaissance in the 15th century its impulse and direction. During his childhood Ficino was selected by Cosimo de' Medici for an education in the humanities. Later Cosimo directed him to learn Greek and then to translate all the works of Plato into Latin. This enormous task he completed in about five years. He then wrote two important books, "The Platonic Theology" and "The Christian Religion", showing how the Christian religion and Platonic philosophy were proclaiming the same message. The extraordinary influence the Platonic Academy came to exercise over the age arose from the fact that its leading spirits were already seeking fresh inspiration from the ideals of the civilizations of Greece and Rome,and especially from the literary and philosophical sources of those ideals. Florence was the cultural and artistic centre of Europe at the time and leading men in so many fields were drawn to the Academy: Lorenzo de' Medici (Florence's ruler), Alberti (the architect) and Poliziano (the poet). Moreover, Ficino bound together an enormous circle of correspondents throughout Europe, from the Pope in Rome to John Colet in London, from Reuchlin in Germany to de Ganay in France. Published during his lifetime, "The Letters" have not previously been translated into English. This third volume consists of the 39 letters Ficino published in his book IV, which he dedicated to Matthias Corvinus, King of Hungary. During the period covered by the letters in this volume, Ficino was working on a revision of his translations of Plato's dialogues and his commentaries on them. Some of the letters consist largely of passages taken from the dialogues, for example, those in praise of matrimony, medicine and philosophy. the largest single letter is a life of Plato which furnishes some interesting parallels with Ficino's own life, as described in a near contemporary biography by Giovanni Corsi which is included, partly for this reason, at the end of the volume. Corsi comments - "The first thing which encouraged me to write about this man was that he himself not only investigated the precepts and mysteries (of the Platonic Academy) but also penetrated, laid open and expounded them to others. This was something which no one else for the previous thousand years so much as attempted, let alone accomplished."

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Marsilio Ficino (1433-99) directed the Platonic Academy in Florence, and it was the work of this Academy that gave the Renaissance in the 15th century its impulse and direction. During his childhood Ficino was selected by Cosimo de' Medici for an education in the humanities. Later Cosimo directed him to learn Greek and then to translate all the works of Plato into Latin. This enormous task he completed in about five years. He then wrote two important books, "The Platonic Theology" and "The Christian Religion", showing how the Christian religion and Platonic philosophy were proclaiming the same message. The extraordinary influence the Platonic Academy came to exercise over the age arose from the fact that its leading spirits were already seeking fresh inspiration from the ideals of the civilizations of Greece and Rome and especially from the literary and philosophical sources of those ideals. Florence was the cultural and artistic centre of Europe at the time and leading men in so many fields were drawn to the Academy: Lorenzo de'Medici (Florence's ruler), Alberti (the architect) and Poliziano (the poet). Moreover Ficino bound together an enormous circle of correspondents throughout Europe, from the Pope in Rome to John Colet in London, from Reuchlin in Germany to de Ganay in France. Published during his lifetime, "The Letters" have not previously been translated into English. Following the Pazzi Conspiracy of 1478, Florence was at war with both the Pope (Sixtus IV) and King Ferdinand of Naples. Prompted by the appalling conditions under which Florence suffered as a result of the war, Ficino wrote eloquent letters to the three main protagonists. In his three letters to Sixtus, who was the main architect of the war, Ficino states in magnificent terms the true work of the Pope - to fish in the "deep sea of humanity", as did the Apostles. King Ferdinand of Naples spent most of his life in intrigue, not only against other states, but also against his own barons. Yet, Ficino addresses him in the words of his father, the admirable King Alfonso. This extraordinary letter, written in the form of a prophesy, speaks of his son's destiny on Earth. "In peace alone a splendid victory awaits you..., in victory, tranquility; in tranquility, a reverence and worship of Minerva" (wisdom). Negotiations for peace were in fact begun about five months later. In his letter to Lorenzo de 'Medici, Ficino presented, with dramatic clarity, the two sides of Lorenzo's nature. The letter may have prompted Lorenzo's bold visit to King Ferdinand's court and the ensuing negotiations for peace. In insisting on the reality of unity and peace in the face of war and division, Ficino uses a number of analogies. He speaks in at least two letters of all the colours emerging from simple white light, just as all the variety of the universe issues from one consciousness. "For the Sun, to be is to shine, to shine is to see, and to illuminate is to create all that is its own and to sustain what it has created."

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MARSILIO FICINO of Florence (1433-99) was one of the most influential thinkers of the Renaissance. He put before society a new ideal of human nature, emphasising its divine potential. As teacher and guide to a remarkable circle of men, he made a vital contribution to changes that were taking place in European thought. For Ficino, the writings of Plato provided the key to the most important knowledge for mankind, knowledge of God and the soul. It was the absorption of this knowledge that proved so important to Ficino, to his circle, and to later writers and artists. As a young man, Ficino had been directed by Cosimo de' Medici towards the study of Plato in the original Greek. Later he formed a close connection with Cosimo's grandson, Lorenzo de' Medici, under whom Florence achieved its age of brilliance. Gathered round Ficino and Lorenzo were such men as Landino, Bembo, Poliziano and Pico della Mirandola. The ideas they discussed became central to the work of Spenser, Shakespeare, Donne, Botticelli, Michelangelo, Raphael, Durer, and many other writers and artists. The first letter in this volume is from Cosimo to Ficino, inviting him to visit him on his estate at Careggii and to bring with him `Plato's book on The Highest Good' (the Philebus) which Cosimo had asked him to translate in 1463. Though there is some uncertainty about the precise nature of Ficino's Platonic Academy, in another letter he replies to a correspondent's request for `that maxim of mine that is inscribed around the walls of the Academy'. This revised edition has corrected errors made in the original translation more than four decades ago, and the notes to the letters and the biographical notes have incorporated much new material from scholarship on the period which has grown enormously in the intervening years and continues to flourish.

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Chronologically, this translation comprises the third book of Ficino's letters ("Liber III"), as published during his lifetime, and dates from August 1476 to May 1477. They follow volume 1 and are therefore published as volume 2. Both book two and three of Ficino's Letters were dedicated to King Matthias of Hungary whom Ficino regarded as a model of the philosopher king referred to in Plato's "Republic". Indeed, Matthias was no ordinary king. He became one of the very few Christian leaders to defeat the Ottoman Turks decisively during the period of their empire's almost continuous growth from the early 1300s to the death of Suleiman I in 1566. King Matthias was also a devotee of philosophy, keenly interested in the practical study of Plato. Members of Ficino's Academy dwelt at this court, and an invitation to visit his court was extended to Ficino himself. Ficino's Academy was consciously modelled on the philosophical schools of antiquity. It was not merely an institute of learning. The bond between Ficino and the other members of the Academy was their mutual love, based on the love of the Self in each, a love capable of expression in all fields of human activity. It was because such love was the basis of his School that Ficnio could write (letter 21) - "the desire of him, who strives for anything other than love, is often totally frustrated by the event. But he alone who loves nothing more than love itself, by desiring immediately attains, and in always attaining continues to desire." It is the principle of unity to which Ficnio repeatedly returns in this volume. He returns to it not just as a philosophical concept, but as an immediate perception. In his letter to Paul of Middelburg ("distinguished scientist and astronomer"), Ficino observes - "If any age can be called a golden one it is undoubtedly the one that produces minds of gold in abundance. And no one who considers the wonderful discoveries of our age will doubt that it is a golden one. For this golden age has restored to the light the liberal arts that were almost extinct: grammar, poetry, rhetoric, painting, sculpture, architecture, music and the ancient art of singing to the Orphic lyre."

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In 1484, humanist philosopher and theologian Marsilio Ficino published the first complete Latin translation of Plato's extant works. Students of Plato now had access to the entire range of the dialogues, which revealed to Renaissance audiences the rich ancient landscape of myths, allegories, philosophical arguments, etymologies, fragments of poetry, other works of philosophy, aspects of ancient pagan religious practices, concepts of mathematics and natural philosophy, and the dialogic nature of the Platonic corpus's interlocutors. By and large, Renaissance readers in the Latin West encountered Plato's text through Ficino's translations and interpretation. In Plato's Persona, Denis J.-J. Robichaud provides the first synthetic study of Ficino's interpretation of the Platonic corpus. Robichaud analyzes Plato's works in their original Greek and in Ficino's Latin translations, as well as Ficino's non-Platonic writings and correspondence, in the process uncovering new aspects of Ficino's intellectual work habits. In his letters and works, Ficino self-consciously imitated a Platonic style of prose, in effect devising a persona for himself as a Platonic philosopher. Plato's dialogues are populated with a wealth of literary characters with whom Plato interacts and against whom Plato refines his own philosophies. Reading through Ficino's translations, Robichaud finds that the Renaissance philosopher seeks an understanding of Plato's persona(e) among all the dialogues' interlocutors. In effect, Ficino assumed the role of Plato's Latin spokesperson in the Renaissance. Plato's Persona is grounded in an extensive study of scholarship in Renaissance humanism, classics, philosophy, and intellectual history, and contextualizes Ficino's intellectual achievements within the contemporary Christian orthodox view of Platonism. Ficino was an influential figure in the early Italian Renaissance: the key intermediary between Greek and Latin, and between manuscript and print, giving voice to Plato and access to the ancient frameworks needed to interpret his dialogues.

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The Planets Within asks us to return to antiquity with new eyes. It centers on one of the most psychological movements of the prescientific age -- Renaissance Italy, where a group of 'inner Columbuses' charted territories that still give us today a much- needed sense of who we are and where we have come from, and the right routes to take toward fertile and unexplored places.Chief among these masters of the interior life was Marsilio Ficino, presiding genius of the Florentine Academy, who taught that all things exist in soul and must be lived in its light. This study of Ficino broadens and deepens our understanding of psyche, for Ficino was a doctor of soul, and his insights teach us the care and nurture of soul.Moore takes as his guide Ficino’s own fundamental tool -- imagination. Respecting the integrity and autonomy of images, The Planets Within unfolds a poetics of soul in a kind of dialogue between the laconic remarks of Ficino and the need to give these remarks a life and context for our day.

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This volume and its companions contain the first English translation of the letters written by the philosopher-priest who helped to shape the changes that we associate with the Renaissance. The letters in this eleventh volume cover the period from autumn 1492 to the spring of 1495, when they appeared in print. A few related or later items are included in an Appendix. A twelfth volume will bring the series to completion with nine distinctive treatises which Ficino gathered into a separate volume in 1476 but later re-included in his Letters as Book II. In the 1490s, Ficino was occupied with the political upheavals in Florence, and much of his effort was concentrated on trying to bring people back into dialogue with one another, in the hope of finding a more constructive outlook. Many of the letters in this book are covering letters to accompany copies of his work On the Sun, which considers the sun in its many aspects, as a heavenly body, a physical life force, a source of inspiration and an allegorical representation of the governing power in the universe. Other important letters include advice on coping with the evils of the time, the responsibilities and privileges of the philosopher, a reiteration of the importance of love, and further reflections on the theme of light. We note the increasing presence of friends in German lands, where several of his works were now being published. He also writes to friends in the French court. One unusual letter tackles a religious question: Ficino was moved to intervene in an argument on the degree to which the Platonic philosophers of old anticipated aspects of the Christian Trinity. While it would be comforting to find such agreement, Ficino says there is none in Plato, though some of the later Platonists offer confirmation of Christian doctrines in their writings. Another controversy relates to the status of astrology, for which Ficino claims only a modest place despite his own writings on the subject. In a related letter on Providence he again returns to the evils the city is experiencing and how these might best be met. Facing one of those evils head on, Ficino composed an address to the French King whose armies were threatening Florence. It is not known whether this address was delivered delivered in the presence of the king during the meeting which Ficino and others attended, but it lies on record as a genuine attempt to resolve hostilities. The illustration on the front of the jacket is from a manuscript of the earliest version of Ficino's work On the Sun, written in 1492 for Count Eberhard of Wurttemberg. It is reproduced with kind permission of the Wurttembergische Landesbibliothek, Stuttgart (HB XV 65,fol.7r). A translation of this early version is included in the Appendix.

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Rediscovering Cocteau's artistic output, from perfume boxes to sketches of Peggy GuggenheimThe multifaceted and surprising artist Jean Cocteau was undoubtedly one of the major figures of the Paris cultural scene in the years between the World Wars. In addition to his literary works, Cocteau was a brilliant visual artist: draftsman, filmmaker and muralist and fashion, jewelry and textile designer. The Juggler's Revenge embraces the versatility for which the artist was often criticized by his contemporaries, retracing the development of his aesthetics and the key moments of his tumultuous life through works created by a variety of techniques and mediums.Attention is paid to his ambivalent relationship with Cubism, Dadaism and Surrealism, as well as his central role in the new classicism of Europe between the wars. A selection of surprising drawings highlights the centrality of desire and sensuality in Cocteau's practice. His little-studied fashion an

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The result of extensive recent research, Migrating Objects reveals Peggy Guggenheim's two-decade period of collecting beyond the European and North American art with which she is usually associatedIn the 1950s and '60s, Peggy Guggenheim (1898-1979) began to turn her attentions as a collector toward the arts of Africa, Oceania, and the Americas. Migrating Objects focuses on this lesser-known but crucial episode in her life and activities. In these years, Guggenheim acquired works created by artists from cultures worldwide, including early 20th-century sculpture from Mali, the Ivory Coast and New Guinea, and ancient examples from Mexico and Peru.Migrating Objects emerges from an extended period of research and discussion on this largely ignored area of Guggenheim's collection by a curatorial advisory committee, which has yielded exciting results, including the reattribution of individual works, among them the Nigerian headdress (Ago

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This volume is published for the largest exhibition to date on Chinese painter Yan Pei-Ming (born 1960), who is known for his history paintings and monumental gestural portraits of intimate subjects as well as public figures such as Mao, Putin and the Pope.

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On the 1950s lyrical abstractions of a little-known protagonist of Italian artA member of the Movimento Spaziale group founded by Lucio Fontana after World War II, Italian painter Edmondo Bacci (191378) began exhibiting internationally in 1956, and was one of the few artists on the Italian art scene to process the latest developments in abstraction.This catalog looks at the more lyrical side of Bacci, when his career reached international success. In the early 1950s, Peggy Guggenheim and various art historians admired his art and celebrated the generative force of his color, his disruption of spatial planes and the circular rhythms of his brushwork. This book also explores the evolution of Bacci's idiom of color and light by examining his seminal works of the 1950s, which were acquired by US collectors through the advocacy of both Guggenheim and Alfred H. Barr, Jr. Edmondo Bacci: Energy and Light presents an artist who has been unjustly neglected i

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The fabled art of Italian caricature, across centuries and mediumsCompiling nearly 100 caricature drawings, engravings, etchings, watercolors and printed books from Milan, Bologna and Venice, De' visi mostruosi documents the Northern Italian caricature tradition, tracing its evolution. Established by Leonardo, this regional style of caricature was further developed by his followers (Giovanni Agostino da Lodi, Giovanni Paolo Lomazzo, Ambrogio Figino, Giuseppe Arcimboldi), became intertwined with the naturalism of the Carracci (Annibale and Agostino) and then experienced a triumphant resurgence among the Venetian painters of the first half of the 18th century (Marco Ricci, Giovan Battista Tiepolo, Anton Maria Zanetti, Carlo Lasinio). A disquieting triptych by Francis Bacon closes the catalog, illuminating the thematic thrust of the book: the disfiguration of physical features as an investigation of the human psyche.

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From Lina Bo Bardi to Elizabeth Diller: how women have reshaped the disciplineIn the space of a few decades, the perception and culture of what an architect can be has evolved from the stereotype of one man at the helm to a far more complex and diversified range of possibilities: couples, collectives and teams of all kinds. But it is the ever-growing and ever-more influential presence of women that characterizes the discipline in our time.In the exemplary cases and stories presented and illustrated in this volume, reflecting not only the quality of the architecture but also the great variety of contexts and professional configurations, we find the most important names of the recent past (Zaha Hadid, Cini Boeri, Lina Bo Bardi) and the present (Elizabeth Diller, Kazuyo Sejima, Grafton Architects): women at the head of large firms, who may work alone or who collaborate with other women or a partner, or who are members of collectives.

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The story of a seminal experience on the international art scene in the 1960s. In the post-war period characterized by wide-ranging experimentation involving major artists and international exchanges, Azimut/h played a key cultural and expressive role. Founded in 1959 with slightly different names by Piero Manzoni and Enrico Castellani, the gallery (Azimut) and the magazine (Azimuth) forged a new concept of aesthetics. In doing so, they were inspired by intense relationships developed with some of the leading figures exploring the language and theory of Italian and international art at the time. This book focuses on the Italian artists of that generation and the European and American reach of their work.

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From the hyperreal to the fragmentary: the body in contemporary art This thematic catalog contains more than 110 works by 34 international artists exploring new frontiers in depictions of the human body, exploring themes of life and death, youth and old age, work and migration, loss of balance and bodily life in the time and space of the present. From works by well-known hyperrealists such as Duane Hanson, John DeAndrea and Carole Feuerman, it proceeds to other types of narration where the body is evoked rather than represented. In works such as Christian Boltanski’s Prendre la Parole (Speaking Up), Ibrahim Mahama’s John B B, Chiharu Shiota’s Over the Continents, Dayanita Singh’s Suitcase Museum and Charles LeDray’s Mens Suits, the body seems to have vanished, leaving behind only traces. Fragments of the body and its mutation, and even the mutable conditions of society, are present in the works of Oscar Munoz, AES + F Group, Yael Bartana, Alfredo Jaar, Janine Antoni, Robert Gober, Marc Quinn, Andres Serrano, Robert Longo, Michel Rovner and Franko B.

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A ghostly portrait of an untenanted Venice In these stark black-and-white photographs, gallerist and photographer Mario Peliti (born 1958) transforms our perceptions of Venice. All the pictures were taken under the same lighting conditions, with no people. The lack of human presence induces the viewer to reflect on the city’s possible fate as a city with no inhabitants.

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A tour through the dazzling Futurist Gesamtkunstwerk that was Giacomo Balla's home and creative laboratory Recently opened to the public for the first time, the home of the Futurist artist Giacomo Balla (1871–1958) is depicted and inventoried in this extraordinary book. The apartment in Rome in which Balla lived with his family for over 30 years was covered with lively murals, painted furniture, decorated utensils and clothes, as well as preparatory drawings, stage designs, toys and other works by the artist, together with paintings by his two daughters Luce and Elica. The numerous paintings by Balla kept in the apartment range from his early figurative period to the Futurist aesthetics of the 1910s and ’20s and a return to representation in the latter part of his life. Together they create a kaleidoscopic example of total design, reflecting the indissoluble link between art and life that lay at the root of Futurist thinking.

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The witty American conceptualist offers a fresh twist on his classic 1960s walking piece “Contrapposto” refers to a pose in which the human subject is turned slightly so that the bust is positioned off-axis from the lower body. American artist Bruce Nauman (born 1941) explores this ancient artistic concept with his most recent project, in which he revisits his 1968 video piece Walk with Contrapposto that depicts the artist’s attempt to hold the classic pose as he walks down a narrow corridor. Nauman uses today’s digital manipulation technologies to build upon this early work in an entirely new context, questioning the representation of human movement and human stillness throughout history. This volume, designed by London-based graphics studio Zak Group, presents documentation of Nauman’s Contrapposto series from 2015 to 2019 as well as the original video, with new essays that extrapolate upon Nauman’s use of space and performance throughout his career.

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The first book on the magical creations of postwar Italian glass virtuoso Toni Zuccheri Toni Zuccheri (1936–2008) was an artist, architect, designer and sculptor. He collaborated with some of the biggest names in postwar Italian art (Gio Ponti, Lucio Fontana and Gaetano Pesce, among others) and worked for some of the most prestigious glass brands in Italy (Venini, VeArt and Barovier), developing new materials and forms in a glassmaking career of nearly half a century. A decade after his death, this volume presents an exhaustive overview of Zuccheri’s career, looking at his complex and fruitful encounters with designers and brands and his extensive independent production of unique works modeled after animals. Featuring illustrations of Zuccheri’s prototypes and one-off pieces plus unpublished sketches, studies and drawings, archival material and letters, Toni Zuccheri reveals the complex sensibility of a designer who took an empirical approach to sculpting “sensitive things.”

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Emblematic and recent projects by Italian architect Alfonso Femia Italian architect Alfonso Femia (born 1966) is known for his experimental designs and "emotional architecture"--projects centered around interpersonal relationships and generosity. Written by historian and art critic Paul Ardenne and featuring photographs by Lub Boegly, this volume focuses on recent projects, including the Iguzzini showroom in Milan.

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Children's book author and illustrator extraordinaire Dario Cestaro (born 1971) presents the beauty of Paris through the spectacular paper architecture of a pop-up book. Cestaro takes young and young at heart readers through a fascinating journey through Paris's most famous buildings: the Eiffel Tower, the Bourse de Commerce, the Louvre, the cathedral of Notre-Dame, the Centre Pompidou and the Arc de Triomphe. This lively tour through Cestaro's colorful pages is enlivened by short texts and sweet anecdotes that tell a history of the city through its most iconic buildings. Readers will learn about the construction of the Eiffel Tower for the 1889 World's Fair, designed by the well-known architect of iron after whom it is named; the pre- and post-Revolutionary histories of the Louvre and the Jardin des Tuileries, given first to princes and then to the people; Tadao Ando's painstaking restoration of the 18th-century Bourse de Commerce to turn it into a contemporary art gallery, and much more. Cestaro's tour through Paris follows the publication of similar volumes on other great European cities: Venice, Florence, Milan and Rome. Cestaro's captivating drawings will help even the youngest readers to recognize the main features of the city, and offers a special glimpse of the city's landscape and its history.

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On a giant of Italian postwar photojournalism and portraiture Italian photographer Mario De Biasi (1923–2013) was celebrated for his photojournalism in Hungary and Siberia, as well as his celebrity portraits of figures including Sophia Loren, Andy Warhol, Sugar Ray Robinson, Marlene Dietrich and Brigitte Bardot. His photographs are presented here by phase and theme.

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Representative sculptural works that probe the limits and potential of our relationship with the worldThis monograph features 30 fundamental works by acclaimed Indian artist Anish Kapoor (born 1954) from the 1980s to the present day, spanning practically the entirety of his long and distinguished career.One of the most notable features of Kapoor's works is the way they transcend their materiality. Pigment, stone, steel, wax and silicone are manipulatedcarved, polished, saturated and moldedto the point of a dissolution of boundaries between the plastic and the immaterial. Color in Kapoor's hands becomes an immersive phenomenon, containing its own spatial and illusive volume. Kapoor seeks estrangement, the erasure of ordinary references, in order to undermine the way that we are accustomed to see things and set them in a completely different perspective, creating works that act as catalysts of energy. This volume reveals the genesis of his artistic practice

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The rediscovery of a Baroque masterpiece by the venerable Italian painter In 2021, a painting was offered at a Madrid auction houses at a starting price of 1,500 euros. Almost immediately and almost unanimously, this Ecce Homo was attributed by experts to Caravaggio (1571–1610), an unprecedented event in the critical history of the painter. This publication comprises essays by four of the most authoritative specialists on Caravaggio and Baroque painting, who together offer an essential starting point for the understanding of this new and fundamental addition to our knowledge of Caravaggio’s work. Maria Cristina Terzaghi, Gianni Papi, Giuseppe Porzio and Keith Christiansen tackle the interpretation of the painting, taking different approaches. One essay dwells on the circumstances of the discovery, another traces its Spanish provenance, while the stylistic, technical and iconographic aspects of the work are examined in depth, along with the artist’s critical fortune and the legacy he left behind in Naples. The four texts offer the reader a variety of interpretations that constitute the true value of this publication. While others have expressed skepticism over the attribution, all the contributing scholars share the same enthusiastic certainty: the Ecce Homo is a masterpiece by Caravaggio and, as such, still has a lot to tell us about the artist.

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Young artists reflect on the Pinault Collection’s monumental exhibition of 20th-century photography The landmark Chronorama: Photographic Treasures of the 20th Century from Condé Nast’s archives is responded to in this book with painting, sculpture, performance and photography from four artists: Tarrah Krajnak (born 1979), Eric N. Mack (born 1987), Giulia Andreani (born 1985) and Daniel Spivakov (born 1996).

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From Pucci's psychedelic patterns to Iuter's skate-inspired prints: how Italian designers have led innovations in textiles throughout the 20th centuryThe dynamic geometrical patterns of Emilio Pucci; the dazzling trompe-l'œil effects of Roberta di Camerino; the pop sensibilities of Gianni Versace and Franco Moschino; the bold street-style prints of Iuter and Sunneithese and countless other innovations have made Italian design a leading force in the history of 20th-century textiles.This volume documents the history of Italian textiles from the beginning of the 20th century through to the present day, exploring their evolution in relation to the dominant styles of various periods. This is a history deeply interwoven with the birth of the totemic Made in Italy'''' concept, as textiles have significantly contributed to Italy's international reputation as a bastion of high-quality fashion and design. Numerous Italian artists, fashion designers, product designe

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An original and unprecedented glimpse into Italian history through photographs of the country's train stationsThis book features an extraordinary collection of photographs of Italian train stations, both historical and contemporary, and is accompanied by insightful texts and stories from renowned writers meditating on Italy's major citiesfrom Milan to Rome to Naples to Venice, Florence and beyond.

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From paper-wrapped parcels to crystalline living matter: a major new monograph on the biomorphic sculptures of Chun Kwang YoungKorean artist Chun Kwang Young (born 1944) is best known for his textured paper sculptures. Taking mulberry paper (the making of which is an ancient Korean craft) as his primary medium, Young creates large creaturely entities steeped in cultural and historical symbolism. He also uses tea and other natural dyes to color the paper. His works resemble living beings: gigantic mushrooms, deformed insects or viruses. In evoking these life forms, the artist stages a performance that is both ritualistic and aestheticone that reflects on the interconnection between living beings, biodiversity and the life cycle.Accompanying the exhibition at Palazzo Polignac at the 59th Venice Biennale, Times Reimagined features more than 150 color images from his oeuvre. Editor Yongwoo Lee contributes text throughout, interspersed with essays by sc

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New spatial and architectural works from the influential American multimedia pioneerPublished in conjunction with the exhibition at Pirelli HangarBicocca in Milan, this monograph presents the most up-to-date compilation of the spatial and architectural works of New Mexicobased artist Bruce Nauman (born 1941). Through his neons, corridors and room installations, Nauman accentuates the contrast between the perceptual and physical experience of space. Perception itself can be interpreted as the subject matter of his work; the aesthetic experience of entering a narrow corridor or an empty room flooded with neon light supersedes the art objects in the viewer's experience.The volume includes newly commissioned essays on Nauman''s conceptual developments and formal variations by scholars, conservators and curators such as Joan Simon, Francesca Esmay and Gloria Sutton, and a text by the exhibition curators. Alongside rich photographic documentation of the show, t

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An incomparable photographer with images from all over the world, Roiter started to take photographs in 1947. For twenty-five years, he preferred to use black and white, with an uncompromising formal and compositional rigor and a technique rooted in contrast, a technique he would continue to seek even in his later work with colour. The catalogue celebrates Fulvio Roiter with essays by Italo Zannier and Denis Curti and an anthology of writings on his art. The photographs are organized into thematic sections: Venice in Black and White, The Tree, Venice in Colour, Italy in Black and White, Around the World and A Man Without Desires.

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Rightly or wrongly, its designer is credited with the idea of having associated the construction with a symbolic and imaginative calendar: 365 meters in length, the number of days in a year, four courtyards, like the seasons, fifty-two doors, and seven stories...Urban myth or the truth? What is certain is that esoteric symbolism and a taste for numbers were often the prerogative of master builders and architects and undoubtedly fascinate the Italians Alfonso Femia and Gianluca Peluffo of 5+1AA. Their renowned ability to bring together the know-how of artisans, artists, contractors, and suppliers of materials has produced a remarkable aesthetic result, in which color and material articulate the internal spaces, animated by stores, restaurants, and offices.

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Catalog to the Carrer Venice museum exhibition of the 19th century drawings on loan from tfrom US National Gallery --from Canaletto and Caravaggio to Sargent on Homer

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The first pop-up book on Florence. Dario Cestaro's spectacular drawings and paper architecture reveal Florence and its treasures in a pop-up book telling the city's history with straightforward texts and interesting facts. This fascinating journey in coloured pages shaped into Florence's most celebrated landmarks will help even younger children to recognize the main buildings: the cathedral with its famous ogival dome; the Palazzo Vecchio with its great tower and crenellated walls; the Palazzo Pitti, once the Medicis' majestic ducal residence; the Ponte Vecchio, the iconic bridge over the Arno with its historic craft shops; the Church of Santa Croce, which contains tombs and monuments to many illustrious persons (Dante, Michelangelo, Galileo).

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An unprecedented and audacious coupling of gastronomy and art: Venetian cuisine and Murano glassworks Winner of two Gourmand Cookbook Awards 2014: Best in the World, Historical Recipes and Best Local Cuisine, For Italy. Food and glass: a combination offering an authentically Venetian experience. Venetian cooking is fundamentally a simple cuisine because of the basic ingredients and methods of preparation and the time required for cooking is short, but it is also complex, giving rise to striking and unusual combinations. This gastronomic tradition is the product of a highly distinctive territory, one in which water and land closely exist. There are fish and shellfish from the lagoon and the nearby Adriatic, vegetables and fruit from the islands in the estuary, and meat and game from the mainland and spices from the distant Orient. What better way to present these traditional Venetian dishes than on the magnificent glassware of Murano? In an unprecedented and audacious coupling of gastronomy and art, Venetian glass reveals its many fascinating and still up-to-date aspects and is brought back to life on the modern table through these original pairings.

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Two new series from the great champion of European figurative painting During 2020, German artist Georg Baselitz (born 1938) created two bodies of work, documented here: the first series is a tribute to his departed friend and Italian icon of Arte Informale, Emilio Vedova; the other is dedicated to, and named for, his wife, Elke.

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A colossal anthology of artist conversations conducted by Maurizio Cattelan This massive volume, published in conjunction with the artist's exhibition at Pirelli HangarBicocca, collects for the first time all of the conversations that Maurizio Cattelan (born 1960) has been conducting for 20 years, as interviewer. The dialogues, of which there are more than 130, were published between 2001 and 2021 in numerous magazines, including Flash Art Italia, International, Purple Magazine, Vogue and Il Manifesto, as well as in monographs and exhibition catalogs. Maurizio Cattelan: Index presents these conversations in facsimile form, maintaining the text and original layout of each publication, resulting in a lively kaleidoscope of voices and images. Appraising the list of people interviewed and reading the texts, an astonishing chorus takes shape, comprising young and upcoming artists, established figures and those who are now deceased and part of history, as well as creatives from other disciplines such as architects, designers, chefs, thinkers, entertainers and performers. Among the interviewees are luminaries such as Alighiero Boetti, Phil Collins, Ferran Adrià, Alex Da Corte, Seth Price, Urs Fischer, Dash Snow, Martine Syms, Paul Chan, Carol Rama, Takashi Murakami, Felix Gonzalez-Torres, George Condo, Jerry Saltz, Virgil Abloh, Chloë Sevigny, Dana Schutz and more.

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A century of innovation from "the Bible of fashion and of high society," featuring magazine covers, illustrations, ephemera and more Founded in 1921, the iconic French fashion magazine L’Officiel was designed for fashion designers, buyers, clothing manufacturers and agents. Within a short time, it helped start the careers of designers such as Pierre Balmain, Cristóbal Balenciaga, Christian Dior and Yves St. Laurent. On the occasion of L’Officiel’s 100th anniversary, this superbly designed volume appraises the magazine’s august history and the culture around it. With 1,000 illustrations, carefully selected from the magazine’s invaluable archives, it offers an overview of the fashion industry and its history from Paul Poiret to Christian Dior, supermodels and “It Girls,” also exploring Paris as a fashion capital. Among the themes explored by the authors are newness, globalism, artistry and “Frenchness.” Through magazine covers, illustrations, design, photographs, advertising campaigns, iconic accessories, portraits and artworks, the reader will rediscover old celebrities and encounter a veritable tapestry of connections between eras.

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New and selected works from the master prankster and art saboteur Accompanying Maurizio Cattelan’s (born 1960) solo exhibition of the same name at Pirelli HangarBicocca, Breath Ghosts Blind follows the artist’s first show in Italy for many years. The exhibition intermixes the artist’s classic pieces with a new body of work, paralleling the show’s thematic core: the cycle of life and the relationship between individual and collective memory. The fully illustrated hardcover monograph delves into these themes, featuring analysis from an array of critics, philosophers and theologians, including Francesco Bonami, Nancy Spector, Arnon Grunberg, Andrea Pinotti and Monsignor Timothy Verdon. It also features an in-depth conversation between the exhibition’s curators and Cattelan himself.

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An artist’s restaging of a Venetian nautical tradition calls attention to the threats of climate change This book documents a community art project created by artist Melissa McGill (born 1969) in 2019 that activated Venice’s lagoon and canals with four large-scale regattas of traditional sailboats hoisted with hand-painted red sails.

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A massive full-career retrospective for Arte Informale painter Emilio Vedova One hundred years after his birth, Emilio Vedova examines the career of the Italian painter Emilio Vedova (1919–2006), best known for his role in the postwar Arte Informale movement. The book surveys Vedova’s career in terms of the artist’s investigations of line and gesture: from the lively, energetic landscape drawings of the 1930s through his progress toward increasingly expressive, materially inventive work—like the Plurimi of the 1960s, in which the artist broke up the surface of a picture into multiple pieces. The publication’s account of Vedova’s career is enriched by an extensive set of illustrations: images of the artist’s works, plus reproductions of his personal photographs, texts and archival material that flesh out the artist’s historical and artistic context. Emilio Vedova offers a comprehensive overview of the work of a pivotal figure in postwar Italian art.

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Featuring a selection of designers forging a new global identity for Italian fashion What's hot in Italian fashion now, and what soon will be hot. New stars are rising in the Italian fashion world–a varied group comprised of a young generation of designers who studied at fashion schools in Italy and abroad, who love contemporary art and architecture and are not afraid of facing new challenges. They all understand that it is necessary to go beyond the label of "Made in Italy" in order to find a new global identity for Italian fashion. The designers have been chosen by Maria Luisa Frisa for their critical philosophy of breaking with tradition and their ability to define new scenarios that emphasize "dressing" as part of a composite process.

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Beverly Barkat s painting is rooted in a profound and ongoing dialogue with art history. Her study and observation of the figurative and realistic tradition in Western art has resulted in her accumulating a body of knowledge that she draws on directly in her artistic practice. To achieve her aim of capturing the essence of the body in motion, Barkat has begun working on a large scale, using broad gestures that recall action painting. The best of her production, together with her latest works (large-scale painted PVC sheets), is illustrated in this book, her first.

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