‎Piero Della Francesca - Les oeuvres‎

‎IT, Silvana , 2012 Hardcover, 240 pages, Text en Francais, 290 x 240 x 28 mm, Tres bon condition, jaquette illustre , illustrations / images en couleur / n/b, ISBN 9788836624645.‎

‎Cette monographie est dediee a un des plus grands artistes de la Renaissance italienne, Piero della Francesca (Borgo Sansepolcro, aux alentours 1416/1417-1492). Chaque oeuvre du maitre, du Bapteme du Christ a la Nativite conservees a la National Gallery, est presentee avec une image en pleine page et attentivement etudiee, tant du point de vue historique qu'esthetique, sans negliger les fortunes critiques au cours des siecles. Un interet particulier est reserve a la splendide serie de fresques, avec La legende de la Vraie Croix dans la basilique de San Francesco d'Arezzo, consideree comme son chef d'oeuvre. L'auteur, a qui nous devons les restaurations de la Chapelle, propose dans cette etude les resultats des interventions sur la moitie des surfaces peintes, accompagnes d'images des fresques apres restauration. Le volume represente un instrument complet et maniable pour tous ceux qui veulent se rapprocher de l'oeuvre de Piero della Francesca. ‎

‎Robert Hoozee: Hommage : Museum voor Schone Kunsten Gent, 1982-2012, Volume 1‎

‎, MER Paper Kunsthalle, 2014 Hardcover, 254 pag. NL / ENG. 320 x 255 x 27 mm, in zeer goede staat / in fine condition, illustr. in colour / b/w. ISBN 9789491775512.‎

‎Onder het dertigjarige directeurschap (1982-2012) van Robert Hoozee onderging het Museum voor Schone Kunsten Gent een ware transformatie. Hoozees drang naar herbronning, multidisciplinariteit en internationale contextualisering van de Belgische kunst uit de periode 1789-1950 vond zijn weerslag in de collectievorming van het MSK en in de tentoonstellingen die onder zijn leiding tot stand kwamen, zowel in het Gentse museum als elders. Hoogtepunten in de collectievorming - van James Ensor, Fernand Khnopff, George Minne en Odilon Redon over Oskar Kokoschka en Erich Heckel tot Raoul De Keyser - illustreren Hoozees streven naar topkwaliteit. In het tentoonstellingsbeleid verzette hij de bakens met 'Paris-Bruxelles' (1997) en 'British Vision' (2007-08). In deze hommage blikt een groep van vijftig binnen- en buitenlandse auteurs terug op deze rijke periode uit de museumgeschiedenis. Hun bijdragen schetsen een caleidoscopisch beeld van een uitzonderlijk man, die bij zijn overlijden in 2012 een museum met internationale faam achterliet. Een man die bovendien in de afgelopen decennia bepalend is geweest voor zowel de kunsthisto riografie over de negentiende en vroege twintigste eeuw als het museumlandschap in Belgi ‎

‎L ON SPILLIAERT AVEC LA MER DU NORD.‎

‎, Snoeck Publishers (Belgium), 2023 PB+, 290 x 240 x 18 mm, FR, 192 pages , illustr. en couleur / n/b , Nouveau. ISBN 9789461617774.‎

‎Autodidacte, form au contact de la litt rature de son temps et persuad de son destin d'artiste lu, tel que le concevait Nietzsche, L on Spilliaert (1881-1946) est l'auteur d'une oeuvre d'une profonde originalit , nourrie d'interrogations m taphysiques et de culture flamande, et r alis e presque exclusivement sur papier. M langeant les techniques graphiques comme l'encre de Chine, la mine de plomb, la craie noire, le pastel, les crayons de couleur, puis l'aquarelle et la gouache, l'Ostendais tisse des liens avec le symbolisme et l'expressionnisme contemporains, et semble annoncer, dans ses paysages les plus radicaux, simplifi s l'extr me, l'abstraction g om trique et le minimalisme.‎

‎L ON SPILLIAERT EN DE NOORDZEE.‎

‎, Snoeck Publishers (Belgium), 2023 Softcover +, 290 x 240 x 20 mm, 187 pag. NL, NIEUW, met ill. in kleur / z/w. ISBN 9789461617644.‎

‎L on Spilliaert (1881-1946) was een autodidact die werd gevormd door het contact met de literatuur van zijn tijd en die overtuigd was van zijn roeping als uitverkoren kunstenaar, waarin hij aan Nietzsche doet denken. Hij was de maker van een bijzonder origineel oeuvre ge nspireerd door metafysische vraagstellingen en de Vlaamse cultuur, en bijna uitsluitend op papier gemaakt. In een mix van grafische technieken zoals Oost-Indische inkt, potlood, zwart krijt, pastel, kleurpotloden en ook aquarel en gouache knoopte de Oostendenaar banden aan met het symbolisme en expressionisme van zijn tijd en leek hij in zijn meest radicale, uiterst vereenvoudigde landschappen de geometrische abstractie en het minimalisme aan te kondigen. Anne Adriaens-Pannier is wereldwijd Spilliaertexpert en heeft al ontelbare publicaties op haar naam staan gewijd aan de Oostendse kunstenaar. Zij cureert ook de expo in Lausanne.‎

‎Philippon Lecoq - Designers Architectes d'int rieur 1955-1995‎

‎, Regard (Editions du), 2023 Hardcover, 250 pages, FR. edition, 315 x 250 x 30 mm, NOUVEAU, illustrations en couleur / n/b. ISBN 9782841054268.‎

‎Ce livre est la premi re monographie consacr e au duo d'architectes d'int rieur Philippon Lecoq. Le bureau d' tude d'Antoine Philippon et Jacqueline Lecoq s'impose de 1955 1995. Tout au long de la p riode des " Trente glorieuses ", ils imposent une pratique exigeante qui concerne l'architecture int rieure, la sc nographie d'exposition, le design industriel, l'enseignement. Le bureau d' tude d'Antoine Philippon et Jacqueline Lecoq s'impose de 1955 1995. Tout au long de la p riode des " Trente glorieuses ", ils imposent une pratique exigeante qui concerne l'architecture int rieure, la sc nographie d'exposition, le design industriel, l'enseignement. Ils participent aux salons nationaux et internationaux, se faisant reconnaitre pour leur militantisme professionnel et la d fense d'une profession en devenir. Ils exposent au Salon des artistes d corateurs, au Salon des arts m nagers, l'exposition internationale de Bruxelles en 1958, la Triennale de Milan et dans de nombreuses manifestations d'importance. Ce livre rend hommage aux industriels qui les ont soutenus dans l' laboration de leurs multiples projets produits en s rie, favorisant leur exploration de nouveaux usages et de nouvelles techniques : en France : d'Henry Mouraux Airborne, le Mobilier national, Formica et les Glaces de Boussois. A l' tranger, en Allemagne en particulier : Bofinger, Erwin Behr, Lauser, etc. Leurs r alisations se distinguent par un ancrage dans la dur e, un engagement sans concessions. Ce livre est la premi re monographie consacr e au duo d'architectes d'int rieur Philippon Lecoq.‎

‎Ritual, Gender, and Narrative in Late Medieval Italy. Fina Buzzacarini and the Baptistery of Padua‎

‎, Brepols, 2020 Hardback, 384 pages, Size:225 x 280 mm, Illustrations:188 col., Language: English. ISBN 9782503579689.‎

‎Summary Ritual, Gender, and Narrative in Late Medieval Italy is the first English-language study of the baptistery of Padua and its extraordinarily rich fresco program, which opens with Genesis and closes with the Apocalypse. Remarkably, when the building was refashioned and frescoed by Giusto de' Menabuoi in the 1370s, it was a woman, Fina Buzzacarini, who funded the enterprise. In late medieval Italy, baptisteries were potent symbols of civic identity, solidarity, and pride, and towns spent lavishly on them - but no other baptistery was so radically reworked at the behest of a woman. Remarkably, too, though the building continued to function as Padua's baptismal church, the renovations transformed it into the mausoleum of Fina Buzzacarini and her family. This volume takes an interdisciplinary approach, using close visual analysis to argue that to a surprising degree, Fina exerted control over the images. The author argues too that ritual is equally important in understanding the frescoes: that in multiple ways that have rarely been considered, the images respond to and participate in the ritual enacted in this sacred space. The prayers intoned at the font, the actions of the officiant, the hymns chanted in procession and inside the baptistery, and even details of the rite all find visual echoes on the baptistery's walls. Ultimately, gender and ritual intersect in the multilayered frescoes of the Padua baptistery. TABLE OF CONTENTS Introduction Chapter 1 Fina Buzzacarini in Carrara Padua Local chroniclers say little about Fina, but recount one salient aspect of her life: after marrying Francesco I Carrara in 1345, she failed for over a decade to produce the requisite son and heir. After crises at court over succession, in 1359 she gave birth to a son. Though the couple's marriage was strained by her husband's blatant philandering, previously overlooked records show that Fina, a very wealthy woman, gradually emerged as a powerful presence at court. While some have minimized the degree of Fina's responsibility for the baptistery's program, I cite a number of documents from the later trecento that attest to a woman's ability to shape the subject matter of a work that she funded. I next discuss Fina's tomb monument, which emulates those of earlier Carrara lords but outshines them, and her votive portrait, which places her on the dexter side, as sole donor, and excludes her husband. Finally, I consider the extraordinary small portraits of Fina inserted into several of the narratives and interpret them as assertions of her authority, overt claims of agency, injected through the program. Chapter 2 Baptistery as Mausoleum: Ambitions and Motivations Why would Fina have sought the baptistery as a burial site, and why did Francesco and the local bishop, whose approval would have been required, agree? The sacred space of a baptistery had long been understood as a desirable funerary site. For Francesco, the project meant the embellishment of one of the most important buildings in the city, burnishing the stature of the regime; co-opting the preeminent symbol of civic harmony; and creating a prestigious-and presumably spiritually advantageous-setting for his own tomb. For the bishop, given the brief tenures of his predecessors who dared to cross Francesco, attempting to thwart the project was not a viable option. Fina likely had reasons of her own, which I consider further in Chapter 6, for choosing the baptistery as her burial place. Here I note that baptisteries were uncommonly welcoming to women. The rite offered them a rare opportunity to participate in the liturgy: women took their place at the font next to men. Finally, in electing her burial in the baptistery, Fina insured that her tomb would be seen, and her memory preserved, by future generations. Chapter 3 Narrative, Ritual, Exegesis: The Genesis Cycle This chapter opens with an account of the baptismal ritual as performed in late medieval Italy- the choreography of prayers, chants, readings, ritual actions, and attendant customs for both the solemn rite and the individual rite. The rest of chapter 3, and chapters 4 and 5, analyze the frescoes in the narrative cycles, arguing that they are as carefully choreographed as the rite, and work in concert with it. They respond as well to baptismal theology, depicting themes that offer pictorial glosses on the rite, echoing typological parallels drawn by medieval exegetes. The Genesis cycle in the drum of the dome includes narratives both familiar and more obscure (the Death of Adam; Lamech Slaying Cain; Jacob's Prayer after his Dream; Jacob's Rods; the Reunion of Jacob and Esau). The obscure episodes are distinctly baptismal, and even the familiar ones are rendered in unusual ways that heighten their baptismal resonance. Chapter 4: Narrative, Ritual, Exegesis: The New Testament Cycle The baptismal themes introduced in the drum continue below, in the New Testament cycle, where the frescoes are often strategically sited to respond to others, each accruing meaning from those nearby. Because of these pictorial and thematic correspondences, it is most productive to analyze the frescoes spatially, wall by wall, rather than purely chronologically. While most of the New Testament episodes depicted here are commonly seen in trecento visual narrative, almost all have been adapted in ways that make them singularly appropriate to the site. For instance, in the Massacre of the Innocents, the slain babies, normally shown nude in trecento painting, wear white tunics that evoke the white garments given to infants after baptism; the jugs in the Marriage of Cana are enlarged versions of the ewer used in the baptismal rite. Chapter 5: Narrative, Ritual, Exegesis: The Apocalypse Cycle In the baptistery's apse is a remarkably detailed depiction of the book of Revelation, a subject seldom seen in trecento painting and never on this scale. The choice was well considered: from late antiquity into late medieval Italy, exegetes found in the text repeated allusions to the sacrament. Again, uncommon narrative inclusions, such as the opening of the fifth seal, with the giving of white garments to the souls under the altar, or idiosyncratic features, like the setting of scenes in dramatic seascapes that attest to the salvific potency of water, highlight the relationship between the images and the rite enacted here. Chapter 6: Gender Matters: Maternity, Sexuality, and Visual Rhetoric If the Padua baptistery is a site for the celebration of the liturgy, it is also a site for the celebration, and commemoration, of its patron. Chapter 6 returns to the visual evidence to examine Fina's role in the baptistery more closely. The gender symmetry of the dome, where women and men appear in equal numbers in the largest circle of Paradise, is suggestive. So is the Genesis cycle's insertion of women into the narrative, at times almost rewriting sacred history to insist on their active participation at critical junctures. Moreover, many of the women featured in the dome and the drum are, unlike most women in the Christian pantheon, mothers - significantly, mothers of sons. Several (Sarah, Rebecca, Rachel, Elizabeth) conceived and delivered sons only after a long delay. Important, too, is the Apocalyptic Woman of Rev. 12, prominently depicted in the apse, who gave birth to a son born to rule. All of these women serve as Fina's exemplars - and as reminders of her success in delivering her own long-awaited son. Finally, the frescoes also feature malevolent, and specifically sexually transgressive, women: Herodias, the wife of Lot, and the Whore of Babylon; all are visually juxtaposed with virtuous mothers, and Herodias, who had an adulterous relationship with a ruler, with Fina herself.‎

‎LES DIAMANTS DE LA COURONNE : Et joyauxdes souverains francais.‎

‎, Editions Faton, 2023 Hardcover, 288 pages, FR. edition, 325 x 250 x 30 mm, Nouveau, images / illustrations en couleur / n/b. ISBN 9782878443301.‎

‎Depuis 1889, les joyaux et les Diamants de la Couronne sont pr sent s dans la galerie d?Apollon au mus e du Louvre. D?o viennent ces pi ces historiques dont les noms font r ver : le R gent, l?Hortensia, la C te-de-Bretagne, le Sancy ? Les visiteurs de la galerie d?Apollon ne soup onnent pas toujours les p rip ties qui ont permis aux Diamants de la Couronne de parvenir sous leurs yeux, dans la lumi re parfaite des nouvelles vitrines install es en 2020. Aux joyaux qui forment le noyau initial de la collection, miraculeusement cart s de la fameuse vente de 1887 et conserv s apr s la R volution, s?ajoutent aujourd?hui des pi ces historiques acquises ou re ues en don depuis le milieu du XXe si cle. Ces diamants font l?objet de recherches renouvel es, qui b n ficient d?une collaboration scientifique avec de nombreuses institutions, le Mus um national d?histoire naturelle notamment. L? tude effectu e sur des moulages conserv s dans de myst rieuses bo tes sans num ro d?inventaire a r cemment permis d?identifier des joyaux aujourd?hui disparus et d?enrichir les connaissances sur les pierres pr cieuses de la Couronne. Apr s le joaillier Germain Bapst, qui fut le premier historien des diamants de la Couronne en 1889, puis Bernard Morel, qui leur consacra en 1988 une somme devenue incontournable, les meilleurs sp cialistes nous proposent aujourd?hui d?en renouveler la connaissance dans cet ouvrage richement illustr .‎

‎Franz Marc: La retrospettiva‎

‎, Prestel, 2005 Hardcover, 336 pages, ITA edition , 285 x 250 x 32 mm, Nuovo, illustrated in colour / b/w. ISBN 9783791335797.‎

‎ Franz Moritz Wilhelm Marc (Munich, February 8, 1880 - Braquis, March 4, 1916) was a German expressionist painter. Marc mainly focused on animal portraits, where he tried to capture not so much the external appearance, but the inner essence of the animal. The color symbolism he developed played a major role in this. For example, blue stood for "the male principle, stiff and spiritual" and yellow for "the female principle, soft, cheerful and sensual". Under the influence of Cubism, he also greatly simplified the forms. As a result, his paintings tended increasingly towards the abstract. His latest works clearly refer to the true expressive power of abstract expressionism.‎

‎LEAVE THE LIGHT ON : Annelore Desmet ‎

‎, Stichting Kunstboek, 2023 HB, 380 x 270 mm, 128 pages v, text ENG / NL / FR. edition, Large Format, Full-page Photos in b/w. *new ISBN 9789058567079.‎

‎Fotografe Annelore Desmet heeft zich tijdens de voorbije jaren ontwikkeld tot Belgi s absolute referentie in kunstfotografie in boudoirstijl. Tientallen dames schonken haar in de afgelopen het vertrouwen om te figureren in hun eigen glamoureuze fotoshoot op een droomlocatie. Haar kunstzinnige approach, eindeloze verbeelding en zeldzaam perfectionisme zorgen voor prachtige beelden. Haar werk vormt zonder meer een nieuwe maatstaf voor boudoirfotografie en is steeds vaker te bewonderen in galeries en op kunstbeurzen.----- Over the past few years, photographer Annelore Desmet has become Belgium's absolute reference in boudoir-style art photography. Dozens of ladies have put their trust in her to feature in their own glamorous photo shoot at a dream location. Her artistic approach, endless imagination and rare perfectionism create stunning images. Her work definitely sets a new benchmark for boudoir photography and is increasingly on display in galleries and at art fairs.‎

‎Noble Magnificence. Culture of the Performing Arts in Rome 1644-1740‎

‎, Brepols, 2024 Paperback, 619 pages, Size:230 x 280 mm, Illustrations:16 b/w, 154 col., 6 maps color, 5 musical examples, Language: English. ISBN 9782503613123.‎

‎Summary The thirty chapters in this book are based on the work of an international, multidisciplinary team of researchers and archivists brought together for the PerformArt project, funded by the European Research Council from 2016 to 2022. This project investigated the artistic patronage of the great Roman aristocratic families of the seventeenth and eighteenth centuries through research in the extant archives. After the accession to the papal throne of Innocent X in 1644, and more so after the Peace of the Pyrenees in 1659 - which led to a greater loss of power for the pope in his relations with other European states - the Roman families stepped up their efforts to assert their social preeminence not only through architecture and the fine arts, but also through the ephemeral performing arts: music, theatre, and dance, which were omnipresent throughout the year and especially during the intense period of artistic production that was the Roman Carnival. The search for traces of these spectacles in the archives of these families reveals that their desire to display their magnificence - an ideal well documented in the literature of the period - gave rise to lavish expenditure on a scale that could only be justified by the benefits (if not tangible, then at least symbolic) they hoped to gain. The essays in this book, which draw on social economic history, the history of ideas, and the evolving artistic practices of the time, make a major contribution to our knowledge of courtly societies in Ancien R gime Europe by integrating the performing arts into their analyses in innovative ways. TABLE OF CONTENTS Overture Anne-Madeleine GOULET, Introduction - Prologue: The Roman Context Isabella CECCHINI and Anne-Madeleine GOULET, Some Thoughts about the Roman Context Irene FOSI, Magnificence and the Roman Nobility between the Papacy and Europe I. The Economy of Magnificence Beno t MAR CHAUX, Patrons, Aristocratic Patrimonies and Finance: Reconsidering the Economic Foundations of Private Magnificence in Rome (c. 1650-1700) Isabella CECCHINI, Instruments of Magnificence. Finance and Credit in Early Modern Rome Maurizio PEGRARI, The Costs of Magnificence, the Magnificence of Costs: Nobility, Economics, and Status in Seventeenth and Eighteenth-Century Rome Isabella CECCHINI and Anne-Madeleine GOULET, Celebrating a Wedding in the Lante della Rovere Family: An Exercise in Magnificence (1682-83) Cristina FERNANDES, Portuguese Patronage in Rome and the Economics of Magnificence: La Virt negl'amori by Alessandro Scarlatti at the Teatro Capranica (1721) - Intermezzo I. Into the Family Archives Marco CAVIETTI, Portraying the Family in Household Archives in the Seventeenth and Eighteenth Centuries Orsetta BARONCELLI, The Computista and the Archivista: Two Key Figures in the Management of Roman Family Archives in the Seventeenth and Eighteenth Centuries Letizia LELI, Reordering a Family Archive in the Seventeenth Century: The Case of the Lante della Rovere Archive II. Social Values and Moral Principles Aldo ROMA, Education to Magnificence: Aristocratic Schooling and College Academies in Seventeenth- and Eighteenth-Century Rome Sarah MALFATTI, Patronage and Pastoral Simplicity in Arcadia: Patronus nullus esto - the Case of Francesco Maria Ruspoli (1707-21) Diana BLICHMANN, Sumptuousness versus Sobriety: Magnificence in the Musical Productions at Cardinal Pietro Ottoboni's Teatro della Cancelleria (1710-12) Valeria DE LUCCA, Ars moriendi in Seventeenth-Century Rome: Staging Lorenzo Onofrio Colonna's Death - Intermezzo II. Some Thoughts on Method Manuela GRILLO and Michela BERTI, Magnificenza as a Paradigm in the Development of a Thesaurus: From Scientific Research to a Difficult Definition, and Back Again III. Conquering and Asserting Magnificence Sara Elisa STANGALINO, Lorenzo Onofrio Colonna 'L'Africano': Military and Artistic 'Campaigns' in Rome and Spain Barbara NESTOLA, 'Donna regale in auree scene t'apre il mondo in teatro': Maria Camilla Pallavicini Rospigliosi and Opera in Rome at the End of the Seventeenth Century Michela BERTI, The Conquest of Magnificence: The Performing Arts and the Social Ascent of the Vaini Family Huub VAN DER LINDEN, Boxes at the Teatro Capranica in 1732: Occupants, Financial Dealings, and Social Visibility - Intermezzo III. Brokers of Magnificence in the Noble Household Natalia GOZZANO, Maestri di casa: Masters of Roman Magnificence in the Old Regime Alexandra NIGITO, The Christmas Cantata in Rome: Papal Munificence and Self-promotion by the Majordomo (1676-1740) milie CORSWAREM, The Art of Appropriation: Girolamo Colonna and the Festivities Held at Rome for the Coronation of Ferdinand IV as King of the Romans (1653) IV. Magnificence on Stage Gloria GIORDANO, 'Si fatto di nuovo ma impiegandovi molte cose del vecchio': The Artifice of Magnificence in the Choreographic Episodes at the Seminario Romano Valentina PANZANARO, Monumentality and Magnificence: Dance and Dramaturgy in Seventeenth century Roman Visual and Musical Sources Jos Mar a DOM NGUEZ, Gloria GIORDANO, Chiara PELLICCIA, Beyond Magnificence: The Caduta and its Imagery in the Performing Arts in Seventeenth-Century Rome Teresa CHIRICO, Magnificence in Miniature: The Puppet Theatre of Cardinal Pietro Ottoboni in the Palazzo della Cancelleria (1694-c. 1712) - Intermezzo IV. The City as a Stage. The Roman Scene in the Early Eighteenth Century Antonella FABRIANI ROJAS, Nobility, Spectacle, and Competition: Reflections on Francesco Valesio's Diario (1700-42) V. The Glories of Fame: Reputation, Circulation, Market Chiara PELLICCIA, The Colonna Family and the Performing Arts in Villeggiatura at Marino lodie ORIOL, From the Reputation of the Artist to the Magnificence of the Prince: The Borghese Family and its Musicians in the Eighteenth Century Giulia VENEZIANO and Margaret MURATA, Rome, Naples, Opera and the 1720s in Rome Glossary Maps General Bibliography Sources and Archival Documents Names of Individuals and Communities Titles of Works Place Names‎

‎Late Gothic Sculpture in Northern Italy: Andrea da Giona and I Maestri Caronesi. An Addition to the Pantheon of Venetian Sculptors‎

‎, Brepols - Harvey Miller, 2022 Hardback, 2 vols, 660 pages, Size:225 x 300 mm, Illustrations:505 b/w, 27 col., Language: English. ISBN 9781912554805.‎

‎Summary Over the course of a century and a half more than forty late Gothic sculptures have been recognized as sharing a vocabulary of figure and facial types, drapery, wings, and hair. Despite the fact that all the works date from the second quarter of the fifteenth century, they were widely distributed throughout Northern Italy - from Udine in the east to Venice, Ferrara, Vicenza, Verona, Milan, Genoa, and Savona in the west. Payments for the greatest of these works, the Milanese Tomb of Giovanni Borromeo, name as its authors Filippo Solari and Andrea, both from Carona or its satellite Giona, towns in the Ticino close to Lake Lugano which gave birth to several famous dynasties of stonecarvers. How Filippo and Andrea and their numerous assistants, known generally as maestri caronesi, were linked and what kinds of organizations permitted such wide-spread activity over such a narrow span of time are questions asked here for the first time. On the basis of close analyses of comparable works, moreover, it proves possible - not only to identify the chief among these maestri caronesi as Andrea da Giona (d. 1449) - but to follow his career in Castiglione Olona, Milan, and Venice where he was preeminent during the transition from late Gothic to Renaissance sculpture. TABLE OF CONTENTS VOLUME ONE Acknowledgments Chapter 1 Introduction Chapter 2 The Critical Fortune of Filippo Solari and Andrea da Giona Chapter 3 The Written Evidence Chapter 4 The Visual Evidence Chapter 5 Conclusion Catalogue Bibliography Illustrations Comparative illustrations Index VOLUME ONE Plates Figures‎

‎1 + 1 = 3 : Over samenwerkingsverbanden in de culturele sector ‎

‎, LannooCampus, 2010 Paperback, 144 pag. NL. 210 x 140 mm, Nieuwstaat !. ISBN 9789020986884.‎

‎De laatste jaren is er heel wat beweging in de culturele sector: gezelschappen en steunpunten fuseren en nieuwe samenwerkingsmodellen worden uitgeprobeerd. Ook de overheid roept op tot samenwerking. Meestal wordt het delen van de overheadkosten, en dus een effici ntere aanwending van de overheidsmiddelen, als argument ingeroepen. Zeker in tijden van crisis zal deze oproep nog sterker doorklinken. In 1 + 1 = 3 gaan we op zoek naar de kritieke succesfactoren van dergelijke samenwerkingsverbanden. Want een structurele artistieke samenwerking is niet steeds voor de hand liggend. Kan de culturele sector op dit vlak iets leren van de profit sector en vice versa? Welke recente ontwikkelingen doen zich voor in de podiumkunstensector? En welke conclusies kunnen we trekken uit een aantal recente praktijkverhalen uit de erfgoedsector en de podiumkunstensector? De teksten zijn gebaseerd op de toespraken die gehouden zijn tijdens het jaarlijkse colloquium van het Prof. Robert Bilsen Fonds voor Cultuurmanagement aan de Universiteit Antwerpen.‎

‎Goed bestuur voor cultuur : Over corporate governance in de Vlaamse cultuursector ‎

‎, LannooCampus, 2012 Paperback, 184 pag. NL.,210x140 mm. Nieuwstaat !.*** Met opdracht en gesigneerd door auteur !*** ISBN 9789401401814.‎

‎Na de politiek, het bedrijfsleven, de gezondheidszorg en het hoger onderwijs beseft ook de cultuursector dat goed bestuur geen luxe maar een noodzaak is. Duidelijk afgebakende verantwoordelijkheden, checks and balances en transparante communicatielijnen, zowel binnen de organisatie als met de externe stakeholders, zijn een belangrijk onderdeel van de groeiende professionalisering van de Vlaamse cultuursector. In Goed bestuur voor cultuur vertellen het Kaaitheater (Brussel), het Museum voor Schone Kunsten (Gent), deFilharmonie (Antwerpen) en andere Vlaamse cultuurhuizen hoe zij vandaag goed bestuur in hun organisatie realiseren. Het boek kijkt ook over de grenzen heen en put inspiratie uit ervaringen in het buitenland.‎

‎CENTO E CENTO E CENTO E CENTO PAGINE DEL LIBRO SEGRETO DI GABRIELE D'ANNUNZIO TENTATO DI MORIRE‎

‎Arnoldo Mondadori. 1957. In-8. Broché. Etat d'usage, Couv. légèrement passée, Dos fané, Mouillures. 281 pages. Premier feuillets déchirés et détachés, avec traces de scotch jauni sur les bords.. . . . Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎'Il Bosco', vol. 1. Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎IL MARTIRIO DI SAN SEBASTIANO‎

‎Fratelli Treves, Milano. 1911. In-12. Broché. Etat d'usage, Couv. légèrement passée, Dos abîmé, Intérieur acceptable. 271 pages. Etiquette de code sur la couverture. Quelques tampons de bibliothèque. Couverture et cahiers se détachant.. . . . Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎Mistero composto in ritmo francese da G. d'Annunzio volto in prosa da Ettore JANNI. 1a impressione. Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎IL PIACERE‎

‎Arnoldo Mondadori. 1951. In-12. Relié. Etat d'usage, Tâchée, Dos fané, Intérieur acceptable. 396 pages. Dos des plats légèrement abîmés (charnières).. . . . Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎Biblioteca Moderna Mondadori, 178-80. Edizione integrale. Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎Il Piacere‎

‎Editoriale Opportunity Book, La biblioteca ideale tascabile Dos carré collé 1995 In-8 (13,4 x 21 cm), dos carré collé, couverture illustrée, 254 pages, texte italien ; coins frottés, quelques taches et marques d'usage sur la couverture, par ailleurs intérieur frais, bon état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.‎

‎LA FIACCOLA SOTTO IL MOGGIO‎

‎Fratelli Treves. 1905. In-12. Broché. Etat d'usage, 1er plat abîmé, Dos abîmé, Intérieur acceptable. 151 pages. Gravures en noir et blanc en page de titre. Illustré de nombreuses gravures en noir et blanc dans et hors texte. Bandeaux, lettrines et culs-de-lampe ornés en noir et blanc. Dos fendu. Cahiers se détachant. 1er plat détaché.. . . . Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎Incisioni di Adolfo De KAROLIS. Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎LA FIGLIA DI IORIO, TRAGEDIA PASTORALE‎

‎Fratelli Treves, Milano. 1904. In-12. Broché. Etat d'usage, Couv. légèrement passée, Dos fané, Intérieur acceptable. 166 pages. Gravures en noir et blanc en page de titre. Illustré de nombreuses gravures en noir et blanc dans et hors texte. Lettrines ornées. Etiquette de code sur la couverture. Quelques tampons et annotations de bibliothèque.. . . . Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎Adolfo De KAROLIS disegnò e incise. Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎LA FIGLIA DI IORIO, Tragedia Pastorale‎

‎Fratelli Treves. 1927. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 166 pages. Gravures en noir et blanc en page de titre. Illustré de nombreuses gravures en noir et blanc dans et hors texte. Bandeaux, lettrines et culs-de-lampe ornés en noir et blanc. Annotations en page de garde.. . . . Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎Adolfo De KAROLIS disegnò e incise. Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎LA FIGLIA DI IORIO, TRAGEDIA PASTORALE DI TRE ATTI (1904)‎

‎Arnoldo Mondadori. 1951. In-12. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 141 pages.. . . . Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎Biblioteca Moderna Mondadori, 200. Edizione integrale. Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎LA PISANELLA‎

‎Fratelli Treves. 1927. In-12. Broché. Etat d'usage, Couv. convenable, Dos abîmé, Intérieur acceptable. 292 pages. Scotch sur le dos, le consolidant.. . . . Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎Commedia in 3 Atti e 1 Prologo. Volta in verso italiano da Ettore JANNI. Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎LAUDI DEL CIELO, DEL MARE, DELLA TERRA E DEGLI EROI, LIBRO IV, MEROPE‎

‎Fratelli Treves. 1924. In-12. Broché. A relier, Plats abîmés, Dos abîmé, Intérieur acceptable. 212 pages. Gravures ornementales en noir et blanc en page de titre. Bandeaux, lettrines et culs-de-lampe ornés en noir et blanc. Dos très abîmé et fendu. Cahiers détachés. 1er plat manquant. 1re page de garde légèrement abîmée.. . . . Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎Le Canzoni della Gesta d'Oltremare. Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎LA VITA DI COLA DI RIENZO‎

‎Arnoldo Mondadori. 1960. In-12. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur acceptable. 180 pages.. . . . Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎'Biblioteca Moderna Mondadori', Vol. 622. Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎LE VERGINI DELLE ROCCE‎

‎Fratelli Treves, Milano. 1896. In-8. Relié. Etat d'usage, Couv. convenable, Dos satisfaisant, Intérieur acceptable. 460 pages. Titre doré sur le dos. Etiquette de code sur la couverture. Quelques tampons de bibliothèque. Page de titre déchirée.. . . . Classification Dewey : 450-Italien, roumain, rhéto-romain‎

‎5a edizione. I Romanzi del Giglio. Classification Dewey : 450-Italien, roumain, rhéto-romain‎