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Prodotti con tag " FIRENZE (Museo Nazionale del Bargello)"

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Wolf Caspar von Klengel, Dresden 1630-1691. Reisen, Skizzen, Baukunstlerische Tatigkeiten.

Autore: PASSAVANT, Gunter.
Munchen, Deutscher Kunstverlag, 2001. Cm. 29x20, pp. 472, tavv. 24 a col. e figg. 363 in nero n. t., tela e sovrac.

Wolfgang Alexander Kossuth, 1982-2002.


Milano, 2002. In-8¡, pp. 159, ill. 140 a col. n. t., tela e sovrac.

Riviste: no

Non disponibile

Wolfgang-Adam Topffer.

Autore: BOISSONNAS, Lucien.

Lausanne, 1996. In-8¡, pp. 389, tavv. e ill. a col. e in nero n. t., tela e sovrac.

Riviste: no

Non disponibile

WoMan Ray le seduzioni della fotografia. A cura di Walter Guadagnini

Cinisello Balsamo, Silvana, 2019. Cm. 17x24, pag. 252, fig. a col e in nero, br. Catalogo della mostra a Torino, Camera, dal 17 Ottobre 2019 al 19 Gennaio 2020
Disponibile su ordinazione

WOMEN AND ART IN EARLY MODERN EUROPE. Patrons, Collectors, and Connoisseurs. Edited by Cynthia Lawrence

University Park, Pennsylvania University Press, 1998. In-8¡, pp. viii-263, figg. in nero n. t., br.

Women Art Critics in Nineteenth-Century France. Vanishing Acts. Edited by Wendelin Guentner.


Newark, 2013. Cm. 23x15, pp. 366, figg. in nero n. t., br.

Over the past years, studies have begun not only to identify the factors that impeded the full participation of women artists in French cultural life, such as women’s limited access to professional art education, but also to bring to light the considerable artistic accomplishments of women occluded by historians for over a century. A similar effort at historical revision has been under way for French women writers. Works of fiction that enjoyed many editions in the nineteenth-century receded from our field of vision for almost a century before being rediscovered and reissued during the last decades of the twentieth century. Such efforts have resulted in scholarship that has helped revise the history of both artistic and literary expression in nineteenth-century France. Similarly, many women in nineteenth-century France had their art criticism published both in journal reviews and in book form, often for decades, in a number of the most influential venues of their day. However, it is perplexing that they remain almost totally invisible in histories of French culture. Women Art Critics in Nineteenth-Century France: Vanishing Acts is the first sustained effort to bring these prolific and influential critics out from the shadows. Although each of the chapters in this volume results from an interdisciplinary approach, the fact that they are written by scholars in art history and in literature means that there will be inevitable differences in approach and methodology. Thus, we study the women's reception of specific artworks and aesthetic movements, discuss intersections of aesthetics and politics in their essays and the literary styles and rhetorical strategies of individual critics, explore the social conditions that allowed or impeded their successes, and suggest reasons for their all but disappearance in the twentieth century. In bringing to light for twenty-first-century readers the "vanished" writings of heretofore unrecognized or under recognized women art critics, the authors hope to contribute to the ongoing revision of women's role in cultural history. The multifaceted approaches to word/image studies modeled in this book, and the many avenues for further research it identifies, will inspire scholars in a number of disciplines to continue the work of reinscribing women in the history of cultural life.

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Women Artists in Early Modern Italy. Careers, Fame, and Collectors. Edited by Sheila Barker.


London-Turnhout, 2016. Cm. 28x22, pp. 181, figg. a col. e in nero n. t., br.

Enhancing our understanding of early Italian female painters including Sofonisba Anguissola and introducing new ones such as Costanza Francini and Lucrezia Quistelli, this volume studies women artists, their patrons, and their collectors, in order to trace the rise of the social phenomenon of the woman artist. In ten chapters spanning two centuries, this collection of essays examines the relationships between women artists and their publics, both in early modern Italy as well as across Europe. Drawing upon archival evidence, these essays afford abundant documentary evidence about the diverse strategies that women utilized in order to carry out artistic careers, from Sofonisba Anguissola's role as a lady-in-waiting at the court of Philip II of Spain, to Lucrezia Quistelli's avoidance of the Florentine market in favor of upholding the prestige of her family, to Costanza Francini's preference for the steady but humble work of candle painting for a Florentine confraternity. Their unusual life stories along with their outstanding talents brought fame to a number of women artists even in their own lifetimes – so much fame, in fact, that Giorgio Vasari included several women artists in his 1568 edition of artists' biographies. Notably, this visibility also subjected women artists to moral scrutiny, with consequences for their patronage opportunities. Because of their fame and their extraordinary (and often exemplary) lives, works made by women artists held a special allure for early generations of Italian collectors, including Grand Duke Cosimo III de' Medici, who made a point of collecting women’s self-portraits. In the eighteenth century, British collectors wishing to model themselves after the Italian virtuosi exhibited an undeniable penchant for the Italian women artists of a bygone era, even though they largely ignored the contemporary women artists in their midst.


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Women Artists in Paris, 1850-1900

Autore: MADELINE, Laurence.
New Heaven and London, Yale, 2017. Cm. 29x25, pag. 277, ill a col e in nero. cart e sovrac. Catagolo dell'esposizione organizzata dall'American Fondation of Arts nei musei di Denver, Louisville, Williamstown, 2017-2018.
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Women in Impressionism. From Mythical Feminine to Modern Woman.

Autore: (COPENHAGEN, Ny Carlsberg Glyptotek 2006-2007).
Milano, 2006. In-8¡, pp. 320, figg. a col. e in nero n. t., tela e sovrac.
Catalogo della mostra tenutasi a Copenhagen nel 2006-2007.
Riviste: no
Non disponibile

Women who ruled. Queens, Goddesses, Amazons in Renaissance and Baroque Art.

Autore: (ANN ARBOR, The University of Michigan Museum of Art 2002).
London, 2002. In-8¡, pp. 192, ill. a col. e in nero n. t., tela e sovrac.
Catalogo della mostra tenutasi a Ann Arbor nel 2002.
Riviste: no
Non disponibile

Women, art, and power and other essays.

Autore: NOCHLIN, Linda.

London, 1994. In-8¡, pp. xvi-181, ill. in nero n.t., br.

Non disponibile

Women, Portraiture and the Crisis of Identity in Victorian England: My Lady Scandalous Reconsidered.

Autore: DENNEY, Colleen.
Aldershot, 2009. Cm. , pp. 280, tavv. 4 a col. e ill. 36 in nero n. t., tela e sovrac.
Non disponibile

Women, Patronage and Salvation in Renaissance Florence. Lucrezia Tornabuoni and the Chapel of the Medici Palace.

Autore: SOLUM, Stefanie.

Farnham, 2015. Cm. 25x18, pp. xvii-288. tavv. 4 a col. f. t. e figg. in nero n. t., cart. e sovrac.

Long obfuscated by modern definitions of historical evidence and art patronage, Lucrezia Tornabuoni de’ Medici’s impact on the visual world of her time comes to light in this book, the first full-length scholarly argument for a lay woman’s contributions to the visual arts of fifteenth-century Florence.
This focused investigation of the Medici family’s domestic altarpiece, Filippo Lippi’s Adoration of the Christ Child, is broad in its ramifications. Mapping out the cultural network of gender, piety, and power in which Lippi’s painting was originally embedded, author Stefanie Solum challenges the received wisdom that women played little part in actively shaping visual culture during the Florentine Quattrocento. She uses visual evidence never before brought to bear on the topic to reveal that Lucrezia Tornabuoni - shrewd power-broker, pious poetess, and mother of the 'Magnificent' Lorenzo de’ Medici - also had a profound impact on the visual arts. Lucrezia emerges as a fascinating key to understanding the ways in which female lay religiosity created the visual world of Renaissance Florence.
The Medici case study establishes, at long last, a robust historical basis for the assertion of women’s agency and patronage in the deeply patriarchal and artistically dynamic society of Quattrocento Florence. As such, it offers a new paradigm for the understanding, and future study, of female patronage during this period.

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Women's voices. The world of women in the Laurenziana collections. Edited by Anna Rita Fantoni.

Firenze, Mandragora, 2018. Cm. 20x14, pp. 173, figg. a col. n. t., br. Catalogo della mostra tenutasi a Firenze nella Biblioteca Medicea Laurenziana dal 9 marzo al 29 giugno del 2018.
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Women's Writing in Italy, 1400-1650.

Autore: COX, Virginia.

Baltimore, 2008. In-8¡, pp. xxviii-464, tela e sovrac.

Riviste: no

Non disponibile

Wonder & Science. Imagining Worlds in Early Modern Europe.

Autore: CAMPBELL, Mary Baine.

Ithaca and London, 2004. In-8¡, pp. xiv-366, figg. 31 in nero n. t., br.

Non disponibile

Wonder and irony with Henry James and Mark Twain in the Venice Ducal Palace

Autore: ZORZI MAMOLI, Rosella
Venezia, Supernova, 2018. Cm. 15x21, pag. 67, fig. a col, br.
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Wonders and the Order of Nature.

Autori: DASTON, Lorraine , PARK, Katharine.

New York, 1998. In-8¡, pp. 511, figg. in nero n. t., tela e sovrac.

Non disponibile

Wood. The World of Woodwork and Carving.

Autore: SENTANCE, Bryan.
London, 2003. Cm. , pp. 208, ill. 815 a col. e in nero n. t., tela e sovrac.
$56.65 $28.32

Woodcarving and Woodcarvers in Venice 1350-1550.

Autore: SCHULZ, Anne Markham.
Firenze, Centro Di, 2011. Cm. 28x24, pp. 614, ill. 20 a col. e 300 in nero n. t., tela.

This book is the first synthetic treatment of Venetian woodcarving and woodcarvers. It opens with an introduction covering all aspects of the subjet - materials, techniques, patronage, genres, and style, as well as social history of the profession in late Medieval and Renaissance Venice. There follows a biographical dictionary of nearly 600 woodcarvers, largely based on unpublished archival documents, the most interesting of which are transcribed in entirety.
The catalogue focuses on 13 works of particular interest in and outside of Venice.

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Wooden architecture of Russia. Houses, fortifications, churches.

Autore: OPOLOVNIKOV, Alexander-OPOLOVNIKOVA, Yelena.
New York, 1989. In-8¡, pp. 256, tavv. 41 a col. e figg. 262 in nero n.t., tela e sovrac.

Riviste: no
Non disponibile

Woodner Collection. Master drawings.


New York, 1990. In-4?, pp. 382, tavv. a col. e figg. in nero n.t., br.

Non disponibile

Word and Image. An Introduction to Early Medieval Art.

Autore: DIEBOLD, William J.
Boulder, 2000. Cm. , pp. xi-160, tavv. 4 a col. f. t. e figg. 63 in nero n. t., br.
Non disponibile

Word, Image, Number. Communication in the Middle Ages.


Tavarnuzze, 2002. In-8¡, pp. 457, tavv. 35 in nero f. t., br.

Non disponibile