Titoli in Storia e critica

Plongeon fulgurant aux sources de notre imaginaire, ce premier tome d’Histoire de l’art d’Élie Faure retrace la naissance du regard humain, des grottes paléolithiques aux colosses d’Égypte, des taureaux ailés d’Assyrie aux temples grecs irradiés de lumière, jusqu’à Rome et son génie des pierres et des routes. En conteur-poète et historien visionnaire, Faure révèle comment les œuvres ne sont jamais décor, mais systèmes vivants de forces, où la forme épouse la fonction et l’idée devient chair — l’art comme langue commune, respiration des peuples et mémoire du monde.

In The Buried City, Gabriel Zuchtriegel takes us on a behind-the-scenes tour of Pompeii and reveals new archaeological finds that are being unearthed at the site’s biggest dig in a generation. As director of the Pompeii Archaeological Park, Zuchtriegel presents a uniquely intimate perspective on this city that was tragically destroyed and frozen in time by the eruption of Mount Vesuvius in 79 CE. Among the ruins, we find unmade beds, dishes left drying, and bodies of victims encased in ash, but Zuchtriegel shows that we’ve only begun to understand this fascinating place.

What is art? Why do we value images of saints, kings, goddesses, battles, landscapes or cities from eras of history utterly remote from ourselves? This history of art shows how painters, sculptors and architects have expressed the belief systems of their age: religious, political and aesthetic. From the ancient civilisations of Egypt, Mesopotamia and Greece, to the revolutionary years of the nineteenth and twentieth centuries, the artist has acted as a mirror to the ideals and conflicts of the human mind.

Michelangelo Buonarroti (1475-1564) was recognized in his lifetime as the greatest living artist, creator of a succession of masterpieces in sculpture, fresco painting, and architecture. In all his work, Michelangelo impressed his contemporaries as a forceful personality, a divine genius endowed with terribilita, or intense emotional power.

These biographies of the great quattrocento artists have long been considered among the most important of contemporary sources on Italian Renaissance art. Vasari, who invented the term "Renaissance", was the first to outline the influential theory of Renaissance art that traces a progression through Giotto, Brunelleschi, and finally the titanic figures of Michaelangelo, Da Vinci, and Raphael.

Intorno alla metà del XX secolo, l'arte cambiò la sua direzione: abbandonò le sponde dell'arte colta figurativa in favore di un avvicinamento alla cultura popolare. Da questo avvicinamento nasce la "Pop Art", abbreviazione di "popular art", i cui esponenti e rappresentanti sono fotografi, pittori, musicisti, scultori, registi, personalità eccentriche. Sono tutti uomini e donne visionari dotati di un particolare senso artistico che molti non avrebbero esitato a definire "bizzarro".

Artemisia Gentileschi, già tredicenne ricalcava Dürer, senza vergogna denunciò il pittore Agostino Tassi perché colpevole di averla violentata. Antigone sfidò la legge degli uomini per seppellire il fratello Polinice, accusato di tradimento. Constance Quéniaux, ballerina all'Opéra di Parigi, offrì a Courbet il suo dettaglio più intimo perché dipingesse "L'origine del mondo". La regina Nefertiti, "la Bella che qui viene", incendiò il desiderio del capo scultore di corte, che la consacrò, per quanto imperfetta, nella scultura più seducente che la storia ricordi.

Un voyage fantastique vers la splendeur du Royaume des Pharaons : Alexandrie, Gizeh, Saqqara, Dendéra, Karnak, Louqsor, Deir el-Bahari, Deir el-Médineh, Médinet Habou, Philae, Abou Simbel, Eléphantine, Assouan et La tombe de Néfertari.

What does it mean to call something "new"? Why is Western art and culture, even after postmodernism, still so obsessed with the concept? What are the consequences of relying on culture to bring about social change? In this provocative book, David Balzer argues that Western culture was never designed to produce truly new or original artifacts. Rather, we move from fixation to fixation, trend to trend—a cycle of creation and destruction with deep origins in Judeo-Christianity and the paganism that preceded it.

From the Pulitzer Prize winner and bestselling author of How to Be an Artist: a deliciously readable survey of the art world in turbulent times Jerry Saltz is one of our most-watched writers about art and artists, and a passionate champion of the importance of art in our shared cultural life...

The Stuff of History presents a thoughtful and often funny, curated selection of fascinating forgotten histories that give insight into some of the Western world's most important cultural moments. Told from the perspective of the overlooked, the book will present the curious and adventurous listener with the stories behind icons that surround us and inform our everyday lives, be they people or objects.

Un breve, delicioso e imprescindible tratado lleno de sugerentes ideas para comprender qué es el arte, qué utilidad puede tener para nosotros, cómo creamos, cómo el arte abre mundos y cómo puede transformarnos para imaginar un futuro diferente. Podríamos decir que el arte es uno de los principales atributos del ser humano, como el lenguaje. Es fácil entender por qué el lenguaje es universal, pero no parece ser tan sencillo imaginar que el arte también lo es. El arte es una forma de hacer que los sentimientos sucedan.

En la segunda mitad del XVIII Europa comienza a cansarse del movimiento barroco que degenera en unas obras demasiado ornamentadas (rococó) y vuelve a concentrar su atención en el equilibrio renacentista, intentando resucitar otro estilo simple y reposado que vuelva a evocar la grandeza...

What does the face of power look like? Who gets commemorated in art and why? And how do we react to statues of politicians we deplore? In this book - against a background of today’s “sculpture wars” - Mary Beard tells the story of how for more than two millennia portraits of the rich, powerful, and famous in the Western world have been shaped by the image of Roman emperors, especially the “Twelve Caesars”, from the ruthless Julius Caesar to the fly-torturing Domitian.

Master Italian sculptor, goldsmith, and writer Benvenuto Cellini is best remembered for his magnificent autobiography. In this work, which was actually begun in 1558 but not published until 1730, Cellini beautifully chronicles his flamboyant times. He tells of his adventures in Italy and France, and his relations with popes, kings, and fellow artists.

Sontag's most important critical writings from 1972 to 1980 are collected in Under the Sign of Saturn. One of America's leading essayists, Sontag's writings are commentaries on the relation between moral and aesthetic ideas, discussing the works of Antonin Artaud, Leni Riefenstahl, Elias Canetti, Walter Benjamin, and others. The collection includes a variety of her well-known essays. Sontag's writings are famously full of intellectual range and depth, and are at turns exhilarating, ominous, disturbing, and beautiful.

Este ejemplar de Eugenio D'ors gira entorno al artista que fue el pionero del rejuvenecimiento del arte clásico, con conceptos y realidades muy claras sobre su arte. Asimismo mostrar la disposición de Cézanne de realizar una innovación en el arte del siglo XX, llevado desde la astuta...

Charlotte Mullins brings art to life through the stories of those who created it and, importantly, reframes who is included in the narrative to create a more diverse and exciting landscape of art. She shows how art can help us see the world differently and understand our place in it, how it helps us express ourselves, fuels our creativity, and contributes to our overall wellbeing and positive mental health.

Art & Fear explores the way art gets made, the reasons it often doesn't get made, and the nature of the difficulties that cause so many artists to give up along the way. This is a book about what it feels like to sit in your studio or classroom, at your wheel or keyboard, easel or camera, trying to do the work you need to do. It is about committing your future to your own hands, placing free will above predestination, choice above chance. It is about finding your own work.

"Inspiration leaps off the pages from Jerry Saltz's new book on creativity. . . . This book is for the artist or non-artist, for the person who gets plain English, for the person who understands that practical talk can coax out the mystical messages that lie underneath." —Steve Martin Art has...