Koln, 2014. Cm. 40x28, pp. 323, tavv. 102 a col. e figg. a col. e in nero n. t., tela.
Negli ultimi anni di vita, il poeta e artista William Blake (1757-1827) portò a termine 102 illustrazioni del capolavoro dantesco, spaziando dagli schizzi a matita agli acquerelli. Come l'onnicompresivo poema dell'Alighieri, anche i lavori dBlake spaziano da scene di sofferenza a immagini di luce, da orribili trasfigurazioni umane fino alla perfezione della forma fisica. Pur rimanendo fedele al testo Blake apportò il proprio punto di vista ad alcuni dei temi centrali dell'opera dantesca introducendo elementi interpretativi propri a concetti vasti quali il peccato, la colpa, il gastigo, la vendetta e la salvezza. Oggi le illustrazioni di Blake, rimaste a diversi stadi di completezza al momento della sua morte, sono disperse in sette diverse istituzioni. Questa nuova edizione - corredata da dieci immagini pieghevoli formato paesaggio - le riunisce nuovamente, accompagnandole a brani tratti dal poema dantesco. Sono inoltre incluse un'introduzione alla Divina Commedia e un'analisi delle illustrazioni di Blake.
London, 2000. In-4?, pp. 480, ill. 393 a col. e in nero n. t., br.
Paris, 1984. In-8¡, pp. 266, ill. 14 a col. e figg. in nero n. t., br.
Catalogo della mostra tenutasi a Parigi, Montreal e Hartford.
Woodbridge, 2014. Cm. 30x24, pp. 534, tavv. 316 a col. e in nero n. t., cart. e sovrac.
William Bouguereau (1825-1905) was a highly important and influential French academic painter, who taught a long succession of gifted students, primarily at the private Académie Julien in Paris. Bouguereau wanted to become a serious history painter and his efforts paid off in 1850 when he won the much coveted Prix de Rome (meaning that the French government paid him to stay in Rome and study art). After his studies in Italy, he established his reputation in Paris as a premier history painter, portraitist, and decorator of churches during the 1850s and 1860s. He was elected to the Académie des Beaux-Arts in 1876 and remained an important and influential member for 30 years. His large output of Salon paintings was consistently praised by critics, often purchased by the French state, and frequently reproduced in the press. He won numerous awards throughout his career and can be seen as the epitome of the French Academy.
Originally published as part of the two-volume set (2010), now available for the first time as a single volume, this edition includes a new chapter entitled 'William Bouguereau's Nymph and Satyr'. It is a detailed discussion of the painting, one of his most significant works, and is written by Kara Lysandra Ross.
The volumes explores the relevance of William Bouguereau's (1825-1905) life and work during the period 1850-1910. His originality and creativity was matched by a genius level of technical excellence, as can be seen in the 350 colour plates in the Biography, which also includes 180 photographs of the artist, his friends, colleagues, family and professional duties and events. The Catalogue raisonné illustrates over 750 paintings, nearly 600 in colour.
Paris, Hazan, 2006. Cm. 30x23, pp. 263, tavv. e ill. a col. n. t., br.
Catalogo della mostra tenutasi a Parigi nel 2006-2007.
Liverpool, 1969. In-8¡, pp. 95, tavv. 97 in nero n. t., br.
Catalogo della mostra tenutasi a Liverpool nella Walker Art Gallery nei mesi di marzo e aprile 1969.
New Haven and London, 2013. Cm. 32x25, pp. xiii-688, figg. a col. n. t., cart.
Catalogo della mostra tenutasi a New York nel 2013-2014.
The most versatile British designer of the 18th century, William Kent (1685–1748) created a style for a new nation and monarchy. The scope of his achievements encompasses architecture, palatial interiors, elaborate gardens, and exquisite furniture. Among his creative innovations are bold combinations of elements from Palladian, rococo, and gothic design, anticipating the intermingling of architectural styles we see today. William Kent: Designing Georgian Britain is the first comprehensive exploration of this important designer and his extraordinary creations. An international team of the foremost experts in the field examines the entire spectrum of Kent’s oeuvre, including the interiors at Kensington Palace and Houghton Hall. Essays illuminate issues about the authorship of Kent’s furniture and metalwork, situate his contributions in relation to architectural discourse, and classify the characteristics of his designs. Copiously illustrated, including many stunning new photographs, this handsome volume celebrates the work and career of one of the most influential figures in the history of architecture and design
Il volume costituisce catalogo della mostra, nella versione in lingua italiana, che dopo Washington e Boston è approdata a Venezia alla Galleria Internazionale d'Arte Moderna di Ca' Pesaro.
New York, 1995. In-4?, pp. 143, tavv. e ill. a col. e in nero n. t., tela e sovrac.
Boston, 2016. Cm. 24x19, pp. 84, figg. a col. n. t., br.
Praised for his jewel-like landscapes, urban park scenes, and sympathetic images of women, William Merritt Chase was a leading American Impressionist painter and an influential teacher in the late nineteenth century. Chase left his modest Indiana boyhood home to study at the Munich Academy, where he fell in love with the old masters and set out to celebrate the people and places of his own time. His New York studio became a stage set for his imagination: there, Chase brought objects from around the world together in harmonious arrangements of color and form, dazzling his subjects and patrons with both his paintings and his artistic persona. This beautifully illustrated volume provides a compact introduction to Chase’s paintings and pastels, sampling several of his favorite motifs—the theatrical environment of his antiques-filled studio, the modern women he celebrated, the costumes and decorative arts of Japan, children at play in city and countryside, and thoughtful moments of leisure and contemplation.
New York, 2000. In-8¡, pp. 192, tavv. 54 a col. e figg. 70 in nero n. t., tela e sovrac.
Catalogo della mostra tenutasi a New York nel 2000.
London, 1996. In-8¡, pp. 384, tavv. e ill. a col. e in nero n. t., tela e sovrac.
Catalogo della mostra tenutasi a Londra dal 9 maggio al 1 settembre 1996.