Ruffini marco (41 résultats)

Pamphlet. Etat : Very Good. Vol 62, pp. 748-808, Photos, Extracted from orig vol, begins with title page, trimmed & stapled, thus is like a pamphlet else VG.

Paperback. Etat : Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Paperback / softback. Etat : Good. Used copy in good condition - Usually dispatched within 3 working days.

Paperback. Etat : New.

Paperback. Etat : Very Good. 1995 Claremont Colleges (Claremont, California), 6 7/8 x 8 1/2 inches tall paperbound in color covers, copiously illustrated with black-and-white photographs, [4], 156 pp. Slight creasing to lower half of front cover. Otherwise, a very good to near fine copy - clean, bright and unmarked - of this scarce collection of works. ~SP46~ [1.5P] A collection of five works of interest to the study of theatre: Hastrup, Incorporated Knowledge; Jenkins, Bacchanalian Hieroglyphs; De Marinis, The Mask and Corporeal Expression in 20th Century Theatre; Varley, The Pre-Expressive Family; Ruffini, Mime, The Actor, Action: The Way of Boxing; Pronko, Two Salomes and a Kabuki Montage: On Rereading A Dictionary of Theatre Anthropology; Leabhart, The Mask as Shamanic Tool in the Theatre Training of Jacques Copeau; De Marinis, From Pre-Expressivity to the Dramaturgy of the Performer: An Essay on the Paper Canoe. …

flessibile. Etat : Ottimo (Fine). 223 p., f.to cm 21x12,5, brossura. Ottimo stato: copertina con lievi segni del tempo, rilegatura e pagine come nuovo. Book.

Paperback. Etat : New. Why is the history of art so often construed as a history of artists, when its alleged focus is art? This book responds to this question by examining Giorgio Vasari's Lives and the artist it features most centrally, Michelangelo. Printed in Florence in 1550 and republished in a substantially enlarged form in 1568, the Lives is a compendium of biographies of the most noteworthy artists, from the late Middle Ages to Vasari's time. Perhaps no other text has exerted such a formidable influence on the discipline of art history, shaping its historical and conceptual categories-principally as an effect of its biographical format and the biological model it follows, charting artistic development from birth through decline. More than any other artist in the Lives, Michelangelo exemplifies art as an expression of the individual. Yet at the same time, as this book aims to show, the Lives fashions Michelangelo as the founder of a new academic era in which art develops collectively as a discipline. Paradoxically, Vasari's celebration of Michelangelo mobilizes a conception of art as teachable and transmissible that is antithetical to Michelangelo's aesthetic ideals and unique style. Each of the five chapters of this book examines the notion of "art without an author," whereby art is teachable and not the inimitable product of a genius, or a corporate rather than an individualistic venture. By tracing Vasari's transformation of Michelangelo from an artist into a figure who legitimates a new age in art, the book bridges a longstanding dichotomy in our understanding not only of Vasari but also of Renaissance culture and art. The claims Art Without an Author makes are integrally supported by art historical research and textual/philological analysis. By way of close study, this book reaches entirely new conclusions about Michelangelo, the production and significance of Vasari's Lives, and the role "authorial" values play in Italian Renaissance culture.…

Etat : New.

Etat : As New. Unread book in perfect condition.

HRD. Etat : New. New Book. Shipped from UK. Established seller since 2000.

Etat : New.

Etat : New.

Hardback. Etat : New. Why is the history of art so often construed as a history of artists, when its alleged focus is art? This book responds to this question by examining Giorgio Vasari's Lives and the artist it features most centrally, Michelangelo. Printed in Florence in 1550 and republished in a substantially enlarged form in 1568, the Lives is a compendium of biographies of the most noteworthy artists, from the late Middle Ages to Vasari's time. Perhaps no other text has exerted such a formidable influence on the discipline of art history, shaping its historical and conceptual categories-principally as an effect of its biographical format and the biological model it follows, charting artistic development from birth through decline. More than any other artist in the Lives, Michelangelo exemplifies art as an expression of the individual. Yet at the same time, as this book aims to show, the Lives fashions Michelangelo as the founder of a new academic era in which art develops collectively as a discipline. Paradoxically, Vasari's celebration of Michelangelo mobilizes a conception of art as teachable and transmissible that is antithetical to Michelangelo's aesthetic ideals and unique style. Each of the five chapters of this book examines the notion of "art without an author," whereby art is teachable and not the inimitable product of a genius, or a corporate rather than an individualistic venture. By tracing Vasari's transformation of Michelangelo from an artist into a figure who legitimates a new age in art, the book bridges a longstanding dichotomy in our understanding not only of Vasari but also of Renaissance culture and art. The claims Art Without an Author makes are integrally supported by art historical research and textual/philological analysis. By way of close study, this book reaches entirely new conclusions about Michelangelo, the production and significance of Vasari's Lives, and the role "authorial" values play in Italian Renaissance culture.…

Paperback. Etat : New.

Etat : New.

8°, paperback, Broschiert. Etat : Gut. Auflage: Illustrated. VIII, S. 201 - 247 Einband leicht bestossen, sonst sehr gut erhalten. Sprache: Italienisch Gewicht in Gramm: 220.

Etat : As New. Unread book in perfect condition.

Etat : New. In English.

Etat : NEW.

Hardcover. Etat : Brand New. 184 pages. 9.00x6.00x9.00 inches. In Stock.

Paperback. Etat : New. Why is the history of art so often construed as a history of artists, when its alleged focus is art? This book responds to this question by examining Giorgio Vasari's Lives and the artist it features most centrally, Michelangelo. Printed in Florence in 1550 and republished in a substantially enlarged form in 1568, the Lives is a compendium of biographies of the most noteworthy artists, from the late Middle Ages to Vasari's time. Perhaps no other text has exerted such a formidable influence on the discipline of art history, shaping its historical and conceptual categories-principally as an effect of its biographical format and the biological model it follows, charting artistic development from birth through decline. More than any other artist in the Lives, Michelangelo exemplifies art as an expression of the individual. Yet at the same time, as this book aims to show, the Lives fashions Michelangelo as the founder of a new academic era in which art develops collectively as a discipline. Paradoxically, Vasari's celebration of Michelangelo mobilizes a conception of art as teachable and transmissible that is antithetical to Michelangelo's aesthetic ideals and unique style. Each of the five chapters of this book examines the notion of "art without an author," whereby art is teachable and not the inimitable product of a genius, or a corporate rather than an individualistic venture. By tracing Vasari's transformation of Michelangelo from an artist into a figure who legitimates a new age in art, the book bridges a longstanding dichotomy in our understanding not only of Vasari but also of Renaissance culture and art. The claims Art Without an Author makes are integrally supported by art historical research and textual/philological analysis. By way of close study, this book reaches entirely new conclusions about Michelangelo, the production and significance of Vasari's Lives, and the role "authorial" values play in Italian Renaissance culture.…

Hardback. Etat : New. Why is the history of art so often construed as a history of artists, when its alleged focus is art? This book responds to this question by examining Giorgio Vasari's Lives and the artist it features most centrally, Michelangelo. Printed in Florence in 1550 and republished in a substantially enlarged form in 1568, the Lives is a compendium of biographies of the most noteworthy artists, from the late Middle Ages to Vasari's time. Perhaps no other text has exerted such a formidable influence on the discipline of art history, shaping its historical and conceptual categories-principally as an effect of its biographical format and the biological model it follows, charting artistic development from birth through decline. More than any other artist in the Lives, Michelangelo exemplifies art as an expression of the individual. Yet at the same time, as this book aims to show, the Lives fashions Michelangelo as the founder of a new academic era in which art develops collectively as a discipline. Paradoxically, Vasari's celebration of Michelangelo mobilizes a conception of art as teachable and transmissible that is antithetical to Michelangelo's aesthetic ideals and unique style. Each of the five chapters of this book examines the notion of "art without an author," whereby art is teachable and not the inimitable product of a genius, or a corporate rather than an individualistic venture. By tracing Vasari's transformation of Michelangelo from an artist into a figure who legitimates a new age in art, the book bridges a longstanding dichotomy in our understanding not only of Vasari but also of Renaissance culture and art. The claims Art Without an Author makes are integrally supported by art historical research and textual/philological analysis. By way of close study, this book reaches entirely new conclusions about Michelangelo, the production and significance of Vasari's Lives, and the role "authorial" values play in Italian Renaissance culture.…

Hardcover. Etat : Brand New. 2nd edition. 208 pages. 9.02x5.98x0.12 inches. In Stock.

Brossura. Etat : new. A cura di Marco Ruffini, Novella Barbolani di Montauto e Lunarita Sterpetti. Testo Italiano e Inglese. Roma, 2026; br., pp. 384, ill. col., cm 15,5x21,5. (Studium. Ricerche di storia dell'arte. 11). Libro.

Etat : As New. Unread book in perfect condition.

Hardcover. Etat : Like New. LIKE NEW. SHIPS FROM MULTIPLE LOCATIONS. book.

Etat : As New. Unread book in perfect condition.

Paperback. Etat : New. Modern Language Initiative; Why is the history of art so often construed as a history of artists, when its alleged focus is art? This book responds to this question by examining Giorgio Vasari's Lives and the artist it features most centrally, Michelangelo. Printed in Florence in 1550 and republished in a substantially enlarged form in 1568, the Lives is a compendium of biographies of the most noteworthy artists, from the late Middle Ages to Vasari's time. Perhaps no other text has exerted such a formidable influence on the discipline of art history, shaping its historical and conceptual categories-principally as an effect of its biographical format and the biological model it follows, charting artistic development from birth through decline.More than any other artist in the Lives, Michelangelo exemplifies art as an expression of the individual. Yet at the same time, as this book aims to show, the Lives fashions Michelangelo as the founder of a new academic era in which art develops collectively as a discipline. Paradoxically, Vasari's celebration of Michelangelo mobilizes a conception of art as teachable and transmissible that is antithetical to Michelangelo's aesthetic ideals and unique style.Each of the five chapters of this book examines the notion of art without an author,whereby art is teachable and not the inimitable product of a genius, or a corporate rather than an individualistic venture. By tracing Vasari's transformation of Michelangelo from an artist into a figure who legitimates a new age in art, the book bridges a longstanding dichotomy in our understanding not only of Vasari but also of Renaissance culture and art.The claims Art Without an Author makes are integrally supported by art historical research and textual/philological analysis. By way of close study, this book reaches entirely new conclusions about Michelangelo, the production and significance of Vasari's Lives, and the role authorialvalues play in Italian Renaissance culture.…

Hardcover. Etat : New. Modern Language Initiative; Why is the history of art so often construed as a history of artists, when its alleged focus is art? This book responds to this question by examining Giorgio Vasari's Lives and the artist it features most centrally, Michelangelo. Printed in Florence in 1550 and republished in a substantially enlarged form in 1568, the Lives is a compendium of biographies of the most noteworthy artists, from the late Middle Ages to Vasari's time. Perhaps no other text has exerted such a formidable influence on the discipline of art history, shaping its historical and conceptual categories-principally as an effect of its biographical format and the biological model it follows, charting artistic development from birth through decline.More than any other artist in the Lives, Michelangelo exemplifies art as an expression of the individual. Yet at the same time, as this book aims to show, the Lives fashions Michelangelo as the founder of a new academic era in which art develops collectively as a discipline. Paradoxically, Vasari's celebration of Michelangelo mobilizes a conception of art as teachable and transmissible that is antithetical to Michelangelo's aesthetic ideals and unique style.Each of the five chapters of this book examines the notion of art without an author,whereby art is teachable and not the inimitable product of a genius, or a corporate rather than an individualistic venture. By tracing Vasari's transformation of Michelangelo from an artist into a figure who legitimates a new age in art, the book bridges a longstanding dichotomy in our understanding not only of Vasari but also of Renaissance culture and art.The claims Art Without an Author makes are integrally supported by art historical research and textual/philological analysis. By way of close study, this book reaches entirely new conclusions about Michelangelo, the production and significance of Vasari's Lives, and the role authorialvalues play in Italian Renaissance culture.…

Etat : NEW. Roma: Campisano Editore, 2026 9791280956927 Studium. Ricerche di storia dell'arte 11 609 N vol.: 1, N pag.: 384, W: 15.5, Illustr.: B/N, N illustr.: 110 This book reconsiders the history and culture of the Medici family of Florence between the beginning of the ducal era (1530) and the end of the Thirty Years' War (1648), examining art collecting and patronage within a broad geographical, political, and cultural framework through unpublished case studies and innovative methodologies. The book investigates the family's lines of expansion toward Rome, the Viceroyalty of Naples, and Milan, and its relations with the European powers: Spain (through the figure of Eleanor of Toledo), France (focussing on the artistic patronage of Maria de' Medici) and the Habsburg Empire (in light of the lively artistic exchanges with the court of Rudolph II). It also shows the relevance of the Medici presence in non-European areas such as the principality of Transylvania, the Levant, and the Americas, through cultural and commercial exchanges with the Mughal Empire and Brazil. The aim is to refocus attention on the interaction between members and close associates of the family and their adversaries, and reread Medici historiography from its formation to the present day. Focusing on objects, collections, and artistic mobility around the Medici, the book delves into the relationship between art and power and the importance of the circulation of symbols in the ongoing process of identity reconfiguration of the early modern world. Barbolani di Montauto, Novella; Ruffini, Marco; Sterpetti, Lunarita.…