Search results for ""Author Felipe Pereda""
La mirada extravagante
La mirada extravagante es el homenaje colectivo de veinte colegas y amigos de Fernando Marías, compañeros de viaje en el estudio de la cultura de la Edad Moderna en la encrucijada entre la ciencia, la religión y el arte.Fernando Marías (Madrid, 1949) es catedrático de Historia del Arte en el Departamento de Historia y Teoría del Arte de la Universidad Autónoma de Madrid y miembro de la Real Academia de la Historia. Editor de la revista Annali di Architettura desde 1995, y prolífico conferenciante, fue Fernando Zóbel de Ayala Visiting Professor en la Universidad de Harvard. Su fecunda y brillante trayectoria internacional abarca numerosos ámbitos, de los que destacan particularmente: la historia de la arquitectura, El Greco y el arte cortesano en tiempos de Felipe III y Felipe IV. Ha sido comisario de varias exposiciones temporales, entre las que sobresale El Griego de Toledo (2014).
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£82.19
Pennsylvania State University Press The Man Who Broke Michelangelos Nose
Renaissance sculptor Pietro Torrigiano has long held a place in the public imagination as the man who broke Michelangelo's nose. Indeed, he is known more for that story than for his impressive prowess as an artist. This engagingly written and deeply researched study by Felipe Pereda, a leading expert in the field, teases apart legend and history and reconstructs Torrigiano's work as an artist. Torrigiano was, in fact, one of the most fascinating characters of the sixteenth century. After fighting in the Italian wars under Cesare Borgia, the Florentine artist traveled across four countries, working for such patrons as Margaret of Austria in the Netherlands and the Tudors in England. Toriggiano later went to Spain, where he died in prison, accused of heresy by the Inquisition for breaking a sculpture of the Virgin and Child that he had made with his own hands. In the course of his travels, Torrigiano played a crucial role in the dissemination of the style and the techniques that he learn
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£143.20
Marcial Pons Ediciones de Historia, S.A. Crimen e ilusin el arte de la verdad en el Siglo de Oro
El arte español del Siglo de Oro afirma una tradición historiográfica ya centenaria puso la imitación del natural al servicio de la religión. Su exacerbado naturalismo es el resultado de la apasionada fe de aquel lugar en aquella época. Crimen e Ilusión defiende lo contrario: sostiene que el problema fundamental de los artistas del Barroco español no era la imitación, sino la verdad, y que una parte, tal vez la mejor parte, de la imaginería de nuestro Barroco se entiende mejor como un complejo ejercicio destinado a disipar las dudas de sus espectadores. Sobre el horizonte de un emergente empirismo, los artistas crearon sus imágenes como evidencias, como argumentos para creer. Crimen e ilusión aborda este aspecto judicial o forense de las imágenes de la Alta Edad Moderna en el interior de un triángulo político, religioso y científico. Por último, explora la reflexión escéptica de pintores y escultores ante el problemático vínculo que liga a las artes figurativas con la verdad.ÍNDICE:
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Swan Isle Press Zóbel Reads Lorca – Poetry, Painting, and Perlimplín In Love
A cherished erotic play by Federico García Lorca, illustrated by a major Spanish artist. Painting, poetry, and music come together in Zóbel Reads Lorca, as Fernando Zóbel, a Harvard student who would become one of Spain’s most famous painters, translates and illustrates Federico García Lorca’s haunting play about the wounds of love. The premiere of Amor de Don Perlimplín con Belisa en su jardín, an “erotic allelujia” which Lorca once called his most cherished play, was shut down in 1928 by Spanish government censors who confiscated the manuscript and locked it away in the pornography section of a state archive. Lorca rewrote the work in New York, and an amateur theater group brought it to the Spanish stage a few years later. Since his death, the play has also been transformed into ballet and opera. Zóbel Reads Lorca presents Zóbel’s previously unpublished translation and features contextual essays from several scholars. Art historian Felipe Pereda studies Lorca in the context of Zóbel’s development as a painter, Luis Fernández Cifuentes describes the precarious and much-debated state of the humanities in Zóbel’s Harvard and throughout the United States in the 1940s, and Christopher Maurer delves into musical and visual aspects of the play’s American productions.
£32.00
