"synopsis" may belong to another edition of this title.
Francesca Cappelletti is the director of the Galleria Borghese in Rome and Professor of Modern Art History at the University of Ferrara.
Patrizia Cavazzini is an art historian, research fellow at the British School at Rome, an advisor to the American Academy in Rome and a member of the Borghese Galleryʼs scientific committee.
During the 16th and 17th century, the discussion on the durability of artworks had become part of the debate on comparison of the arts, opposing the merits of sculpture to those of painting. The sculptors used coloured marbles and painters paint on stone (slate, lapis lazuli, paesina stone, etc.), while metals and precious woods contribute to the creation of extraordinary objects, such as small altars, cabinets, and clocks, with complex architectural shapes and adorned with sculptures, reliefs and paintings.
Painting on stone was particularly popular in Rome: the technique, developed by Sebastiano del Piombo, was used to paint large altarpieces but also for smaller works, avidly collected by contemporary patrons, among whom Scipione Borghese stands out. The painting exploited the natural features of the stones for backgrounds, buildings, skies and the result were amazing objects appreciated for their preciousness.
The book investigates the birth of painting on stone and its development during the 17th century in Rome and Europe. Over 60 works from Italian and foreign museums and important private collections. Including rarely seen artworks.
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Seller: libreriauniversitaria.it, Occhiobello, RO, Italy
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Seller: Libro Co. Italia Srl, San Casciano Val di Pesa, FI, Italy
Brossura. Condition: new. Roma, Galleria Borghese, October 24, 2022 - January 29, 2023.Edited by Cappelletti F. and P. Cavazzini.English Text.Milano, 2022; paperback, pp. 256, 145 col. ill., cm 24x29. Nella Vita dedicata a Sebastiano del Piombo, Giorgio Vasari scrive: [] «ha lavorato sopra le pietre di peregrini, di marmi, di mischi, di porfidi e lastre durissime, nelle quali possono lunghissimo tempo durare le pitture; oltre che cio ha mostrato, come si possa dipingere sopra l'argento, rame, stagno e altri metalli». Nel breve passaggio appare la motivazione attribuita a questo uso innovativo dei materiali: la possibilità di protrarre la vita dell'opera, di renderla, come scriveranno altri autori, «poco meno che eterna». A questo tipo di pittura, ai suoi sviluppi e alle sue implicazioni storiche e semantiche nel corso del Seicento, la Galleria Borghese dedicherà una mostra nell'autunno del 2022. Nel corso del Cinquecento, la discussione sulla durabilità delle opere d'arte si era inserita nel dibattito sul paragone, opponendo i pregi della scultura a quelli della pittura. Il confronto fra le due arti, all'inizio del Seicento, avviene all'interno delle collezioni, nuovi spazi del dibattito storico artistico. Si infittisce il gioco fra le arti sorelle: gli scultori usano marmi colorati e i pittori dipingono su pietra (lavagna, lapislazzuli, pietra paesina, ecc.), mentre metalli e legni preziosi concorrono alla creazione di oggetti straordinari, come piccoli altari, stipi e orologi, dalle forme architettoniche complesse e adorni di sculturine, rilievi e pittura. Alcuni di questi oggetti, nei quali pietra e metalli erano impiegati non solo per la durabilità dei materiali, ma per il loro valore e per la loro stupefacente fattura, la cui bellezza stessa dava il senso di trascendere le epoche, saranno parte della mostra, integrandosi con quelli che facevano parte della collezione di Scipione Borghese, oggi ancora in galleria. Libro. Seller Inventory # 3897583
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Hardcover. Condition: new. Hardcover. During the 16th and 17th century, the discussion on the durability of artworks had become part of the debate on comparison of the arts, opposing the merits of sculpture to those of painting. The sculptors used coloured marbles and painters paint on stone (slate, lapis lazuli, paesina stone, etc.), while metals and precious woods contribute to the creation of extraordinary objects, such as small altars, cabinets, and clocks, with complex architectural shapes and adorned with sculptures, reliefs and paintings. Painting on stone was particularly popular in Rome: the technique, developed by Sebastiano del Piombo, was used to paint large altarpieces but also for smaller works, avidly collected by contemporary patrons, among whom Scipione Borghese stands out. The painting exploited the natural features of the stones for backgrounds, buildings, skies and the result were amazing objects appreciated for their preciousness. AUTHORS: Francesca Cappelletti is the director of the Galleria Borghese in Rome and Professor of Modern Art History at the University of Ferrara. Patrizia Cavazzini is an art historian, research fellow at the British School at Rome, an advisor to the American Academy in Rome and a member of the Borghese Gallery's scientific committee. SELLING POINTS: . Over 60 works from Italian and foreign museums and important private collections richly illustrated . Rarely seen artworks 224 colour illustrations The book investigates the birth of painting on stone and its development during the 17th century in Rome and Europe. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability. Seller Inventory # 9788833672045
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