Search results for ""author luigi"

The first monograph on the celebrated photographic duo Luigi & Iango, accompanying a major exhibition of their workWhile many photographers seek to capture the aesthetics of a moment, Luigi Murenu and Iango Henzi aspire to transcend a single genre, capturing a timeless quest for pluralistic beauty and artistic expression. One of the most creative imagemakers working in the industry today, Luigi & Iango share their stunning portfolio of work – from icons of contemporary culture and supermodels to Japanese Kabuki and portraits of artists and performers – in their first ever monograph. Luigi Murenu and Iango Henzi (known as Luigi & Iango) are a Swiss-Italian photography duo. Since starting to work together in 2013, they have photographed stories and series for the world’s leading magazines, captured iconic celebrities such as Madonna, Gisele Bündchen, Rihanna, Penélope Cruz, and Cate Blanchett among others.

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They say Luigi always ran barefoot. And they speak of his greatest challenge-the race nobody thought he could win, not even Luigi himself. Maybe it's urban legend, or maybe the true events have acquired added luster in Dan Paley's memory. After all, a story this amazing couldn't possibly be true, could it? Suffused with nostalgia for soft summer evenings in a city neighborhood, with kids playing in the street, neighbors visiting, twilight seeming like it would never end . A tall tale that kids will never tire of. Aaron Boyd's colorful illustrations vividly recreate an urban Philadelphia street and its houses, shops, and memorable people. Fountas & Pinnell Level M

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'Ingenious, elegant, and pleasing - a treat for the most refined listeners and critical judges of musical composition'. Thus wrote Charles Burney in the 18th century about the music of Luigi Boccherini. Here, three centuries later, the renowned cellist Steven Isserlis, in his Foreword to Luigi Boccherini - Musica Amorosa, invites you to enter anew that world of 'sweet, joyous clarity' and 'fathomless beauty' that endow Boccherini's rococo style. 'This', says Isserlis, 'is the music of angels'. Born in 1743 in Italy, in Lucca, famed for its long and distinguished musical tradition, Boccherini spent two thirds of his life in Spain, a vibrant influence that perfuses many of his works. A composer of symphonies, chamber music and vocal works, he excelled as well in creating many sonatas and concertos for the cello. A pioneer in his day of modern cello playing, Boccherini introduced techniques that greatly heightened the cello's range and depth of expression. Incorporating recent international research, this comprehensive new biography sets the composer in his historical context during the turbulent social changes that accompanied the end of the ancien regime and the dawn of the republican era.

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Luigi Pericle (1916–2001) was a rare talent—a self-taught illustrator and painter, a man of letters, mystic, theosophist, and intellectual whose work and legacy eludes any categorization. Under his proper name Pericle Luigi Giovanetti he had great success as an illustrator and cartoonist in the 1950s. His cartoons were published worldwide in daily newspapers, such as the Washington Post or Herald Tribune, as well as in satirical magazines like Punch. His comic strip Max the Marmot, published in newspapers and books, was hugely popular across Europe, the United States, and Japan. In 1958, he turned to explore abstract expression through painting and ink drawing. He quickly gained international recognition as an artist and his paintings were exhibited in gallery and museum shows in Britain and Switzerland during the 1960s. Yet recognition was not what he was looking for, and he disappeared voluntarily from the art world to lead an increasingly secluded life dedicated entirely to his art and writing. His home Casa San Tomaso on the legendary Monte Verità in Ascona, in southern Switzerland, offered ideal surroundings for an artist so strongly drawn to spirituality. Luigi Pericle. Ad Astra, published to coincide with a major exhibition at the MASI Museo d’arte della Svizzera italiana in Lugano, offers a fresh look at how the spiritual environment and tradition of Monte Verità influenced Pericle as an artist and how Asian calligraphy and Zen Buddhism were influential to his drawing practice. Moreover, the book investigates Pericle’s understanding of abstraction in art and his own syncretism of modern mysticism. Text in English, German and Italian.

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Monsignor Luigi Giussani (1922-2005) was the founder of the Catholic lay movement Communion and Liberation in Italy, which has hundreds of thousands of adherents around the globe. In The Life of Luigi Giussani Alberto Savorana, who spent an important part of his life working and studying with Giussani, draws on many unpublished documents to recount who the priest was and how he lived. Giussani's life story is particularly significant because it shares many of the same challenges, risks, and paths toward enlightenment that are described in his numerous and influential publications. Savorana demonstrates that the circumstances Giussani experienced and the people he encountered played a crucial role in defining his vocation. Illuminating details are shared about Giussani's parents, professors, and friends in the seminary, the things he read, his priesthood, his experience teaching, misunderstandings and moments of recognition, and illness. Luigi Giussani considered Christianity to be a fact, a real event in human life, which takes the form of an encounter, inviting anyone and everyone to verify its relevance to life's needs. This is what happened for so many people all over the world who recognized in this priest and leader, with his rough and captivating voice, not only a teacher to learn from, but above all a man to compare oneself with - a companion for the journey who could be trusted to answer the question: how can we live? In addition to providing the first chronological reconstruction of the life of the founder of Communion and Liberation, The Life of Luigi Giussani provides a detailed account of his legacy and what his life's work meant to individual people and the Church.

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This first comprehensive survey of the life and work of Luigi Lucioni (1900 1988) places him in the context of fellow Regionalist painters Grant Wood, Charles Sheeler, and Maxfield Parrish. Lucioni is known for meticulously rendered still lifes, landscapes, and arresting portraits drawn from his close-knit circle of queer New York artists and cultural figures, including Paul Cadmus, Jared French, George Platt Lynes, and Lincoln Kirstein. In the early 1930s, Lucioni discovered Vermont, whose landscapes reminded him of northern Italy. It was there that he met Electra Havemeyer Webb, who was to become his single most important patron. For more than 50 years, the New York City based artist spent every summer painting landscapes of trees, barns, and buildings in Vermont with sharply observed realism and a cool, precise style. Key scholars examine Lucioni s oeuvre, materials, techniques, and his role in American modernism.

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What do we see when we observe? What do we see when we observe a photograph? Ghirri's work is distinguished by the tension between the object and its representation, and there is nothing that he loves more than those situations in which boundaries become permeable; his work has taught us a new way of seeing, giving meaning to what is seemingly obvious. This is not the landscape that is normally perceived, but the one that is supposed to be latent, inscribed on the reverse: landscape of memory and fairytale, the landscape of hidden figures and wonders. In this direction, Ghirri has always preferred common and familiar places, already seen, but for the first time 'observed' with different eyes, where everything is suspended between past and future and where, like in the countryside, the world can be imagined as a vision which still arouses wonder. A thought-landscape. Text in English and Italian.

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Encuadernación: RústicaColección: Ensayos,401Descripción: 184 p. il. col. 23x15 cmLo que cuenta es realmente que la vida comenzada en María y José, en Juan y Andrés, vuelva a encenderse en el corazón de la gente, que a las personas se les ayude a tener un encuentro que cambie su vida como sucedió en los orígenes del cristianismo (Luigi Giussani) Tras las huellas de Cristo. Viaje a Tierra Santa con Luigi Giussani es un excepcional documento directo de la peregrinación que en 1986 guió Luigi Giussani, fundador del movimiento Comunión y Liberación, en su primer y único viaje a la tierra de Jesús. La presente edición mantiene los apuntes originales del viaje, que sin embargo tienen plena actualidad por el testimonio dado por Giussani a los peregrinos que le acompañaban: el de un hombre frente al perturbador anuncio de Cristo. Luigi Amicone, actualmente director del semanario italiano Tempi, uno de los peregrinos de aquel viaje, reconstruye con estilo de enviado esp

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Published to accompany the first time the Luigi and Peppino Agrati Collection will be revealed to the public; the collection can be viewed between May and August 2018. During the Festival of Nouveau Realisme (New Realism) in Milan in November 1970, Christo removed the white cloth in which he had wrapped the Monument to Vittorio Emanuele II in the Piazza del Duomo and placed it over the Monument to Leonardo da Vinci in the Piazza della Scala. This is viewed today as a key event in the contemporary art scene in Milan, a moment that Luigi and Peppino Agrati experienced live. They immediately contacted the artist and commissioned him to create works for the garden of their villa. Wealthy entrepreneurs, the Agrati brothers shared subtle and sensitive insights into art that fostered a deep understanding of the images that shaped their era. This show is the first time their collection is being revealed to the public, through a representative selection of Italian and American works of art donated with generosity and foresight by Luigi Agrati to the Intesa Sanpaolo. From a nucleus of sculptures by Melotti to masterpieces by Fontana, Burri, and Klein, the exhibition provides an in-depth examination of Italian 'Nuova Figurazione' painting ('New Figurative Painting'), working its way to the roots of the new 'Arte Povera' ('Poor Art'). The discovery of American art coincides with the Agratis' acquisition of works by the principal exponents of Pop Art - including the iconic Andy Warhol and his monumental Triple Elvis - and by the Minimalists, of which Dan Flavin's large neon work dedicated to Peppino Agrati is emblematic. In a kind of multiple constellation side by side with examples of Italian art, the collection reveals extraordinary works by Robert Rauschenberg (acquired in large numbers from the end of the 1960s to the 1980s), Cy Twombly (the original mediator between American and Italian art), and conceptual artists like Bruce Nauman and Joseph Kosuth, whose experiments with language are displayed in a dialogue with those by Alighiero Boetti and Vincenzo Agnetti.

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This volume celebrates Luigi Pericle, painter, but also thinker, literate, scholar of theosophy and esoteric doctrines, revealing his extraordinary history, made of profound research and great encounters. From well-known collector Peter G. Staechelin to Sir Herbert Read, trustee of the Tate Gallery; from the museologist Hans Hess, curator of the York Art Gallery, to the famous German artist and director Hans Richter - everyone was attracted by his charisma, his versatile personality, his 'clairvoyant' art. With Luigi Pericle, the history of informal art of the second post-war period unexpectedly opens to philosophy, to alternative spirituality, to the mysteries of the cosmos, against the background of the space age. Essays by: Marco Pasi, Luca Bochicchio, Chiara Gatti, Michele Tavola, Andrea Biasca-Caroni, Valeria Malossa, and Giovanni Cavallo. Text in English and Italian.

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Luigi Russolo (1885-1947) - painter, composer, builder of musical instruments, and first-hour member of the Italian Futurist movement - was a crucial figure in the evolution of twentieth-century aesthetics. As creator of the first systematic poetics of noise and inventor of what has been considered the first mechanical sound synthesizer, Russolo looms large in the development of twentieth-century music. In the first English language study of Russolo, Luciano Chessa emphasizes the futurist's interest in the occult, showing it to be a leitmotif for his life and a foundation for his art of noises. Chessa shows that Russolo's aesthetics of noise, and the machines he called the intonarumori, were intended to boost practitioners into higher states of spiritual consciousness. His analysis reveals a multifaceted man in whom the drive to keep up with the latest scientific trends coexisted with an embrace of the irrational, and a critique of materialism and positivism.

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Nostalgia for the Future is the first collection in English of the writings and interviews of Luigi Nono (1924–1990). One of the most prominent figures in the development of new music after World War II, he is renowned for both his compositions and his utopian views. His many essays and lectures reveal an artist at the center of the analytical, theoretical, critical, and political debates of the time. This selection of Nono’s most significant essays, articles, and interviews covers his entire career (1948–1989), faithfully mirroring the interests, orientations, continuities, and fractures of a complex and unique personality. His writings illuminate his intensive involvements with theatre, painting, literature, politics, science, and even mysticism. Nono’s words make vividly evident his restless quest for the transformative possibilities of a radical musical experience, one that is at the same time profoundly engaged with its performers and spaces, its audiences, and its human and social motivations and ramifications.

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The New York Times bestselling and award-winning creators behind Library Lion deliver a warm (and delightfully fuzzy) storybook, another classic in the making, marked by humour and depth, endearing characters and the assurance that the right people will accept and adore us, unconditionally, just as we are.On a street of old houses, a big hairy spider is searching for a home with dark corners to hide in. But when he wakes up, he finds a hand reaching for him, and a lady proclaiming that she has always wanted a kitten and will name him Luigi! At first, a somewhat puzzled Luigi, used to being left alone to creep and dangle and spin webs, resists her kind advances. But soon, tasty breakfasts and getting tucked into bed (no one's ever wished him good night before) have him thinking that kittens surely live magical lives. I will be a kitten! he decides. But how long can he keep up his façade, and what might be at stake in pretending to be someone you'r

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One of the last works from Luigi Moretti tells us many things about his final approach to one of the most actual themes studied by the architects of the XXI century: the landscape. Here Moretti succeeded to have a fusion between "subject" and "object" designing a building whose aim is to disappear, to become landscape itself. No surprise until we see that our architect work crosses many different historical periods keeping quite unchanged his method: from the fascism to the Seventies Moretti was coherent. From the Classical monumentalism of the fascist period to the baroque approach of the Fifties his work has always moved to the direction of perception of space more than mere formalism. The Guendalina Salimei's book reveals, for the first time, how one of the main instruments for the project is the "section". Taking the Michelangelo's lesson, all the masses float above, leaving the ground express as a free form of art.

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During his long career, Pier Luigi Nervi has explored the potential of concrete through the cast-in place and the prefabrication of elements in reinforced concrete or in ferro-cement, the material he invented and patented during the war. All of his best known works, such as the Berta Stadium, the hangars built in Orivieto, Orbetello and Torre del Lago Puccini, the Halls of the Turin Exposition Center, the Unesco buildings, the Little Sport Palace and the Papal Audience Hall represent an important chapter in the history of architecture, structure and construction of the twentieth century. The passion of Nervi for the manufacturing process of the concrete and formworks is examined in a systematic manner within the volume. The authors illustrate the creative process put in place by Nervi through the examination of documents never even studied in other essays, unpublished designs, drawings, specifications, photographs of the yards and correspondence with colleagues and collaborators.

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Front cover image Faces of Rome at Centrale Montemartini Photographs by Luigi Spina Claudio Parisi Presicce & Luigi Spina Not yet printed due - 06/19 9788836642724 Hardback Silvana Editoriale Territory: UK, Ireland, Scandinavia, Iceland, Germany, Eastern Europe & Austria Size: 300 mm x 240 mm Pages: 144 Illustrations: 60 b&w RRP £24.95 Sixty photographic prints depicting thirty-seven antique sculptures, covering a wide variety of types: Roman portraits from both the Republican and the Imperial periods Faces of Rome presents refined photographic research by Lugi Spina on the subject of ancient portraiture, carried out on the sculpture collection of the Capitoline Museums, housed in the Centrale Montemartini in Rome. At over 600 statues, the collection is one of the most important in the world. The photographs of the pieces have not been ordered and classified according to style and chronological order: instead, the author has set them out according to a system of evocations and similarities between the assorted faces, which are identified after long observation and deep analysis, and revealed through the skilful use of light and shadow. Text in English and Italian.

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Nostalgia for the Future is the first collection in English of the writings and interviews of Luigi Nono (1924–1990). One of the most prominent figures in the development of new music after World War II, he is renowned for both his compositions and his utopian views. His many essays and lectures reveal an artist at the center of the analytical, theoretical, critical, and political debates of the time. This selection of Nono’s most significant essays, articles, and interviews covers his entire career (1948–1989), faithfully mirroring the interests, orientations, continuities, and fractures of a complex and unique personality. His writings illuminate his intensive involvements with theatre, painting, literature, politics, science, and even mysticism. Nono’s words make vividly evident his restless quest for the transformative possibilities of a radical musical experience, one that is at the same time profoundly engaged with its performers and spaces, its audiences, and its human and social motivations and ramifications.

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Luigi Pirandello is best known for his experimental plays, but his narrative production has not enjoyed the same degree of critical attention. O'Rawe's study represents the first major reassessment of this output, including the 'realist' novels, the historical novel I vecchi e i giovani (1909) and the autobiographical Suo marito (1911). The book identifies in Pirandello a practice of 'self-plagiarism' - constant rewriting and revision and obsessive re-use of material - and explores the relation of these overlooked modes of composition to the author's own theories of authorship and textuality. Drawing on a wide range of critical theory, O'Rawe repositions Pirandello as a major figure in the development of European narrative modernism.

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In 1999 a collection of documents were found in the archives of the Italian Institute of Human Palaeontology belonging to Luigi Cardini, one of the founders of the Institute. These documents included site notebooks, photographs, drawings and maps relating to work carried out in Albania from 1930-39 where he was sent on a governmental mission to `reinforce Italian supremacy in Albania through archaeological research'. This monograph publishes extracts from these notebooks within a historical, political and archaeological context. The work he carried out is synthesised and a report is included on survey work carried out in 2000 and 2001 to attempt to relocate many of Cardini's cave sites described in his notebooks.

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21 de octubre de 2001. En la plaza de San Pedro hay más revuelo de lo habitual. ?Sabes? Hoy beatifican a un matrimonio. ?A los dos juntos? Imposible. Ante la beatificación de Luigi y María Beltrame Quattrocchi, padres de cuatro hijos, la Congregación Vaticana para las Causas de los Santos se preguntó: cuándo se celebrará su fiesta? Normalmente se celebra el día de la muerte. Entonces debería celebrarse en fechas diferentes? Por decisión del papa Juan Pablo II, será el 25 de noviembre, fecha de su boda. Presentamos la primera biografía en español de estos esposos que, inspirándose en la palabra de Dios y en el testimonio de los santos, vivieron una vida ordinaria de modo extraordinario, en palabras de Juan Pablo II. Original es la obra que el lector tiene en sus manos ?dice el Card. López Trujillo en su prólogo?, como lo es la manera que han tenido los autores para presentarse; lo hacen con el título de la Pequeña Familia de Betania, como para querer significar, ésa ha sido mi apreciaci

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The papers published here have been written by friends, former students and colleagues of Luigi Radicati di Bronzolo on the occasion of his 70th birthday to express the affection and deep esteem he induced in them with his considerateness, intelligence, knowledge and culture. The papers appear in two volumes; on the basis of their titles it is easy to recognize that they may be grouped according to the following subjects: 1) Atomic, molecular and nuclear physics; 2) Astrophysics; 3) Elementary particles; 4) Mathematics; 5) Physical and biological ordered and disordered states; 6) Principles of quantum mechanics and of field theory.

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Gorgeously illustrated by Luigi's own paintings, this tantalizing collection features 114 recipes spread over nine sections of the book, with a special section on Italian wines, co-written with Luigi's maitre d' of many years, Adrian Vicentini.

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Luigi Taparelli, SJ, 1793-1862, in his Theoretical Treatise of Natural Right Based on Fact, 1840-43, presents a neo-Thomistic approach to social, economic, and political sciences grounded in an integral conception of the human person as social animal but also as rational truth seeker. His conceptions of social justice and of subsidiarity are fundamental to modern Catholic social teaching (CST). His work moves away from traditionalist-conservative reaction in favor of an authentically human, moderately liberal, modernity built on the harmony of faith and reason. He zealously deconstructs laissez-faire liberal ideology and its socialist progeny in scores of articles in the Civiltà Cattolica, the journal that he co-founded in 1850. His arguments figure prominently in the Syllabus of Errors (1864) of Pius IX. Though a moderate liberal himself, his reputation as anti-liberal reactionary and defender of Papal temporal sovereignty is the chief reason why Pope Leo XIII later sought to quiet Taparelli's contribution to the foundations and pillars of modern CST that began with the restoration of Thomistic philosophy in Aeterni Patris (1879), and the ""magna carta"" of modern Catholic social teaching, Rerum Novarum (1891). Pius XI relies heavily on Taparelli's concept of subsidiarity in Quadragesimo Anno (1931), and sought to advance interest in Taparelli studies. However, Taparelli's eclectic philosophical orientation and writing style have been a considerable stumbling block. In this present book, Taparelli's ideas are evaluated both for their philosophical character but also in their historical context. Taparelli's theories of the just society and ordered liberty, are as timely nowadays for reasoned political and ethical discourse as ever. The book includes an appendix of translated portions of the Theoretical Treatise of Natural Right Based on Fact that relate to subsidiarity.

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Set in the widest urban neighbourhood of the fascist Rome, the "casa delle armi" building show the deep and sophisticated typological research around the "balilla houses". Born as an advanced typological experiment it is the most modern of the "National Balilla Opera" buildings: an architecture both with a solid image and a massive functional complexity. The "fluxes" of athletes and the one of clients are sharply driven with no interference in the body of the building. Notwithstanding such a complexity, the parts are clear: two different immense interiors so much different each other. But, like in a Dostoevsky drama, the plot meet some troubles that made impossible the full completion and the celebration of its success. Quickly inaugurated, never really opened, abandoned and soon forgotten, it can be told that the building was born dead. Its oblivion lasted for thirty years when, in the eighties, the need to find a safe place to celebrate the trials against the terrorism, convinced the Ministry of Justice to finally destroy the interiors. The aim of this book is rather not to enter in the field of refurbishment of modern architecture than to tell about the story and the composition rules of this architecture: an affresco of the history and political, urban and architectural frame in which "Casa delle armi" is set. A very sharp 3d model help to come over the old shots imposed by the architect to the photographer, to set new points of view discovering, again, new sides and emotions.

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Pirandello's classic play, updated for the twenty-first century by Headlong. Blurring the border between fiction and life, between the stage and the world outside, Luigi Pirandello's play Six Characters in Search of an Author exploded onto the stage in 1921 as one of the unique achievements of twentieth-century drama. Updated and recontextualised in this vertiginous new version, it becomes a dark parable for a media-obsessed age and an exhilarating exploration of how we define art, ourselves and 'reality' in the twenty-first century. This version by Rupert Goold and Ben Power was first performed at the Minerva Theatre, Chichester, in June 2008, in a co-production between Headlong and Chichester Festival Theatre.

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Luigi L. Pasinetti (born 1930) is arguably the most influential of the second generation of the Cambridge Keynesian School of Economics, both because of his achievements and his early involvement with the direct pupils of John Maynard Keynes. This comprehensive intellectual biography traces his research from his early groundbreaking contribution in the field of structural economic dynamics to the ‘Pasinetti Theorem’. With scientific outputs spanning more than six decades (1955–2017), Baranzini and Mirante analyse the impact of his research work and roles at Cambridge, the Catholic University of Milan and at the new University of Lugano. Pasinetti’s whole scientific life has been driven by the desire to provide new frameworks to explain the mechanisms of modern economic systems, and this book assesses how far this has been achieved.

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Bei vorliegender Publikation handelt es sich um die erstmalige Edition eines Manuskripts des aus der Emblemata-Forschung bekannten italienischen Jesuiten Silvestro Pietrasanta; bis etwa 1800 befand es sich in der Bibliothek der Prelatura Carafa in Rom. Der in einem exzellenten Latein abgefasste Text hat die Visitation des Bistums Luttich (Liege) in den Jahren 1628-1632 zum Gegenstand, ist jedoch offensichtlich auch als Anleitung fur kunftige Visitatoren gedacht gewesen. Pietrasanta war Beichtvater des Nuntius und spateren Kardinals Pier Luigi Carafa (1581-1655), der 1625-1634 in Luttich residierte und von dort aus zahlreiche geistliche Einrichtungen, wie Kanonikerstifte, Kloster und Beginenhofe visitierte. Die Schrift ist anonym, aber Pietrasantas Herausgeberschaft konnte zweifelsfrei nachgewiesen werden. In der Einleitung wird der Forschungsstand auf dem Gebiet der Visitationen konzis resumiert; in ihr finden sich uberdies u.a. biographischen Daten zu den an der Visitation beteiligten Personen, eine Karte mit dem Visitationsitinerarium sowie ein zeitgenossisches Portrat Carafas. Der Text stellt eine wichtige Erganzung zu der Nuntiaturberichtsedition dar und ist insbesondere fur die Geschichte Belgiens und seiner Nachbarlander von grosstem Interesse. Allerdings ist damit seine Bedeutung nicht erschopft, denn es darf angenommen werden, dass die hier veroffentlichten umfangreichen Frageformulare und Dekrete fur unterschiedliche Personengruppen in ahnlicher Form auch anderswo angewendet worden sind. Zum besseren Verstandnis des Inhalts wird der Text durch zahlreiche Anmerkungen erganzt.

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