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FIOCCO (Giuseppe).
Mantegna.
Paris Gallimard, coll. "Le Musée de la Pléiade" 1938 1 vol. relié in-8 (212 x 136 mm), cartonnage toilé bleu de l'éditeur (sans l'étui), 243 pp., 215 reproductions en noir hors-texte. Très bon état général. Sans date (vers 1938). Traduction de l'italien par Jean Chuzeville.
Reference : 60300
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5 book(s) with the same title
Andrea Mantegna: Humanist Aesthetics, Faith, and the Force of Images
, Brepols - Harvey Miller 2020, 2020 Hardcover, xx + 308 pages., 150 col. ills, 220 x 300 mm, English, .fine! ISBN 9781912554348.
No other artist before him could boast a celebrity like that of Andrea Mantegna (1431-1506), whose career reads like an archetype of Renaissance social ascent. Half a millennium later Mantegna is well-remembered; yet while his importance in any account of a Western Tradition of painting has long been beyond dispute, it has been and remains under-examined and misunderstood. In this provocative re-assessment, based on his Betty Allison Rand lectures at the University of North Carolina 2017, Stephen J. Campbell shows that Mantegna has served the function of illustrating early Renaissance painting, whether the principles of a "humanist theory of art" as prescribed in the De pictura of Alberti, with its elaboration of perspective techniques, or the preoccupation with antiquity and its reconstruction. While he is rightly regarded a crucial nexus of interaction between the world of the artisan, of the court, and of intellectual life, Mantegna?s importance is still perceived to lie in an early formulation of what is called the "classical tradition," destined to be surpassed after his death by Raphael and his followers. Campbell argues that the place of normativity or typicality that Mantegna occupies in the History of Art ? "Early Renaissance artist," "artist as antiquarian," "Albertian perspectivist," has kept from view the more radical potential of his work for a re-description of early Renaissance painting. In particular, this study of the artist?s major works re-open the questions of "humanist art," of the relationship between painting and intellectual life, of image-making as a form of discourse that bears a far from passive or ancillary relationship to poetry, history, or rhetoric. Mantegna?s work is shown to challenge and complicate prevailing understandings of the way works of art address their beholders and construct their spatial milieu, of the materiality of painting and the relationship of painting and writing, and the volatile ideologies of classical antiquity as a component of Renaissance painting.
[Andrea Mantegna] - Rossi, Francesco ed
Reference : 086951
(2006)
ISBN : 8876249079
Placchette e rilievi di bronzo nell'eta di Mantegna
Rossi, Francesco ed: Placchette e rilievi di bronzo nell'eta di Mantegna. Exhibition: Mantua, Museo della Cittá di Palazzo San Sebastiano, 2006. 88pp with 72 colour and monochrome illustrations. Wrappers. 28x24cms. A study of reliefs, bronzes and plaquettes from the time of Mantegna including drawings and engravings by him. Text in Italian.
A study of reliefs, bronzes and plaquettes from the time of Mantegna including drawings and engravings by him. Text in Italian
Mantegna a Mantova. 1460-1506
Lucco, Mauro: Mantegna a Mantova. 1460-1506. Exhibition: Mantua, Palazzo Te, 2006. 227pp with 80 colour and 50 monochrome illustrations. Boards. 29x25cms. Arriving in Mantua in 1460, Mantegna became the court painter, remaining their until his death in 1506. This exhibition marks the quincentenary of his death, looking at his artistic output in Mantua. Includes works by other artists working in the area including Lorenzo Costa, Correggio and Gian Francesco Tura. Text in Italian.
Arriving in Mantua in 1460, Mantegna became the court painter, remaining their until his death in 1506. This exhibition marks the quincentenary of his death, looking at his artistic output in Mantua. Includes works by other artists working in the area including Lorenzo Costa, Correggio and Gian Francesco Tura. Text in Italian
Andrea Mantegna - Peintre, dessinateur et graveur de la Renaissance italienne.
S.l., Gallimard / Electa, (1992). Un fort vol. au format in-4 (303 x 258 mm) de 513 pp. Reliure d'édition de pleine percaline satinée moutarde, sous jaquette illustrée, sous coffret.
L'ouvrage s'agrémente d'une abondante iconographie en couleurs. ''Andrea Mantegna (vers 1431-1506) fut l'un des plus grands artistes de la première Renaissance italienne. Fils d'un charpentier, il arriva enfant à Padoue, où l'on pouvait voir les ruines de l'ancienne cité romaine, où l'université était un centre de cours humanistes, où d'importants personnages collectionnaient des œuvres antiques... C'est là que sa passion pour la civilisation de la Rome ancienne est née. Autour de 1460, Mantegna devint peintre à la cour des Gonzague à Mantoue, et c'est sous leur patronage qu'il produisit ses plus grands chefs-d'œuvre. Cet ouvrage retrace le développement du génie inventif de Mantegna à travers ses peintures, dessins et gravures. Il est écrit par les plus grand spécialistes mondiaux de l'artiste, dont Laurence Gowing, Keith Christiansen, David Landau, Jane Martineau et Suzanne Boorsch.'' Très belle condition.
Otto Pacht. Venetian Painting in the Fifteenth Century. Jacopo, Gentile and Giovanni Bellini and Andrea Mantegna
, Brepols Publishers, 2004 paperback, 260 p., 219 b/w ill. 41 colour ill., 210 x 280 mm English. ISBN 9781872501239.
Otto Pacht, one of the most significant art-historians of the ?Vienna School?, and well known for his analyses of Early Netherlandish art, turns his attention in this publication to the humanist circle of Early Renaissance painters in Venice, dominated by Jacopo Bellini, his sons Gentile and Giovanni, and also his son-in-law Andrea Mantegna. It was a period of newly awakened interest in the Antique, of studies made directly from nature, and of trial and error in the technique of perspective. And in addition, a new awareness of the role of light and colour in the devotional and often monumental images of the Madonna, of altarpieces and of allegories contributed to the founding of what we now recognise as the hall-mark of Venetian painting, that culminated with Titian. Of the Bellini family, it has been Giovanni who was generally regarded as the major figure of the dynasty. Pacht, however, devotes particular attention to Jacopo?s work, interpreting it as the basis for his sons? later development. He analyses Jacopo?s London and Paris Sketchbook drawings, demonstrating where Late Gothic elements can be seen to be overtaken by the need to give perspective depth to the image, and how subsequent painting took account of these changes. This is also the essence of Pacht?s examination of Mantegna?s work, where the construction of space and depth is the key to our understanding of Mantegna?s creative process. Turning to the next generation of the Bellini family, Pachts guides our eyes to appreciate the refinement and perception of Gentile?s portraits, and finally takes us step by step through the works of Giovanni, where fantasy combines with the play of colour and light in creating compositions, devotional images, and landscape settings of perfect harmony and beauty. !Winner of the Apollo Magazine Book of the Year 2003 Award! "Pacht's lessons are as timely now as thitrty-five years ago." (P. Hills in The Burlington Magazine, cxlvii, January 2005, p. 47-48)
