Germano Emilio (16 results)

XI + 286 p. in-8.

Softcover, 52 pages, in Italian and German; very good condition, clean and crisp; no internal marks. Foreign shipping may be extra.

Condition: Very Good. 1st edition. Cloth spined boards, VG+. xii+286pp, boards a little worn, SIGNED by Tauber to the title. The legal, medical & social aspects of adoption. 900 grams.

Softcover, 342 pages, very good condition, light crease to spine; no internal marks. Foreign shipping may be extra.

Softcover, 240 pages, in English and Italian; as new condition, clean and crisp; no internal marks. Foreign shipping may be extra.

Gr. 8° geb. Pappeinband. 238 S. Gebundener Pappeinband in Orig.-SU, 29 x 25 cm, SU nur leicht berieben, ansonsten keine nennenswerten Gebrauchsspuren, annähernd neuwertig. Emilio Vedova (19192006) war ein italienischer Maler des Informel. 1960 erhielt er den Großen Preis der Biennale von Venedig, zudem nahm er in den 50er- bis 70er-Jahren mehrfach an der documenta teil. Der Band gibt einen Überblick über Vedovas Schaffen von den 50ern bis in die 90er-Jahre. Vedova2010 Sprache: Italienisch Gewicht in Gramm: 1700. …

XXXIII + 633 p. in-8.

Celant, Germano. EMILIO VEDOVA: Scultore. 240 pages, 227 color and b&w illustrations. 4to, boards. Milan, Skira, 2010. Exhibition in Venice. Text in English and Italian.

Hardcover. Condition: New. Emilio Vedova's artistic career began in Venice in the mid-1930s. He immediately felt the deep allure of grand Venetian painting and sculpture and, guided by the restless agitation and dynamic mobility of the baroque, was soon plunged into total and extreme three-dimensional involvement. The work in Emilio Vedova Scultore originates precisely from his feeling of being a living and breathing part of the beloved spaces he encountered along his way, inexhaustible sources of stimuli and incitement, which he transformed into volumetric works of sculpture, architecture, opera and theatre. In his 1958 exhibition in Warsaw, the geometrical work mounted on the ceiling of the Zachenta Palace confirms Vedova's interest in sculpture and his penchant for articulating spatial implications. This is followed in 1959 in Venice by the L-shaped teleri in the painting/ambient of Palazzo Grassi and then by his opera Intolleranza '60 (Intolerance '60) at the Teatro La Fenice, in collaboration with Luigi Nono. With the Plurimi (1961-1965), foreshadowed by the Rilievi (Reliefs, 1960-1964), Vedova removes the painting from the wall and installs it in the space of a fragmented, intersected set of surfaces somewhere between painting, sculpture and architecture. In Berlin he creates the Plurimi of the Absurdes Berliner Tagebuch '64, which found their natural development a few years later in Spazio/Plurimo/Luce (Space/Plurimo/Light), executed for Expo 1967 in Montreal. In this work, fourteen glass slides produced by the artist on Murano are projected simultaneously up to a height of 16 metres in the asymmetrical space by an equal number of large-format projectors. In 1977-1978, he works on the Plurimi/Binari from his Lacerazione (Laceration) cycle, where sliding, superimposed surfaces and black and white paintings squeezed into massive steel frames create images in continual transformation. In the same period he also dedicates himself to the Frammenti/Schegge (Fragments/Splinters) cycle - precarious, solitary and asymmetrical presences - and to the . Cosiddetti Carnevali. (. So-called Carnivals.). Lastly, in the 1980s Vedova began his large installations of the Dischi (Discs) and Tondi - refound, vital and aggressive repossessions of space. This book addresses the artist's entire career as a sculptor and includes a study of his series of models - his way of taking notes in three dimensions - which mark out his tireless daily quest for expression of the total work, towards which Emilio Vedova was inexorably drawn.…

rilegato. Condition: Fine. 1. Legatura artigianale. Copertina uso tela con caratteri dorati impressi sul dorso. Sovraccoperta plastificata, lievissimi segni d'uso ai margini e minime tracce di sporco. Tagli superiore lievemente ombrato 8808069982 Ottimo (Fine) . Book.

60 pp.; 27.7 x 21.5 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; April/May 1978 issue of the periodical "Journal." Guest edited by Barbara Radice. Contents include: "Introduction," by Barbara Radice; "Article Titles and Authors;" "Contributor's Photographs;" "Notes on Contributors and Photo Credits" "Articles." Contributions by Ettore Sottsass, Iole de Sanna, Gianni Emilio Simonetti, Lea Vergine, Carlo Romano, Benedetto Gravagnuolo, Riccardo Dalisi, Aldo Grasso, Ugo la Pietra, Emilio Bertonati, Camilla Sbrissa, Giorgio Marconi, Tommaso Trini, Emina Cevrovukovic, Franco Quadri, Angelo Pezzana, Vittorio Gregotti, Isabella Puliafito, Adolfo Natalini, Germano Celant, Franco Raggi, Rosamaria Rinaldi, Clino Castelli, Michele De Lucchi, Alessandro Mendini, and Andrea Branzi. Cover: Ettore Sottsass. Very Good. Mailed copy with mailing marks and mailing wear and printed address sticker on verso. Light edge wear and yellowing of covers. Contents clean and unmarked.…

Condition: NEW.

copertina morbida. Condition: buone. Dust Jacket Condition: buone. OTTORINO UFFREDUZZI A. MARIO DOGLIOTTI (illustrator).

240 pp.; 22.5 x 20.5 cm.; sewn bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed "This book does not aim at being an objective and general analysis of the phenomenon of art or life, but is rather an attempt to flank (both art and life) as accomplices of the changes and attitudes in the development of their daily becoming. This book does not attempt to be objective since the awareness of objectivity is false consciousness. The book, made up of photographs and written documents, bases its critical and editorial assumptions on the knowledge that criticism and iconographic documents give limited vision and partial perception of artistic work. The book, when it reproduces the documents of artistic work, refutes the linguistic mediation of photography. The book, even though it wants to avoid the logic of consumption, is a consumer's item. . This book produces a collection of already old material. . In this book there is no need to reflect in order to seek a unitary and reassuring value, immediately refuted by the the authors themselves, rather there is the necessity to look into it for the changes, limits, precariousness and instability of artistic work." -- text from Celant's introduction "Stating That." Includes artists Walter de Maria, Michelangelo Pisteletto, Stephen Kaltenbach, Richard Long, Mario Merz, Douglas Huebler, Joseph Beuys, Eva Hesse, Michael Heizer, Ger van Elk, Lawrence Weiner, Luciano Fabro, Bruce Nauman, Joseph Kosuth, Jan Dibbets, Giovanni Anselmo, Robert Barry, Pier Paolo Calzolari, Dennis Oppenheim, Barry Flanagan, Robert Smithson, Giulio Paolini, Reiner Ruthenbeck, Alighiero Boetti, Giuseppe Penone, Franz Erhard Walther, Hans Haacke, Gilberto Zorio, Robert Morris, Marinus Boezem, Carl Andre, Emilio Prini, Richard Serra. Text in Italian. Fair / Good. Two 3 cm. tears to upper spine edge. Moderate rubbing and light yellowing of covers. Moderate Foxing on inside front and back covers and scattered throughout the interior. Name of previous owner in ink on first free inside page. 1 cm. dog ear to corner of folded interior of back cover.…

Hardcover. Condition: New.

In-8° (cm. 18,7), pp. XV, 519, (2). Mezza tela primo '900 e oro (sbiadito), ceniera anteriore rotta, interno ben cucito e compatto, ex libris coevo. Le origini della Chiesa di Roma e del Papato. ERMA, IPPOLITO, NOVAZIANO, GIOVINIANO, CLAUDIO, ARNALDO [da Brescia], VALDO, GIOACCHINO [da Fiore], DOLCINO, DANTE, MARSILIO [Ficino], SAVONAROLA. COMBA, pastore e storico valdese, professore alla Facoltà valdese di Teologia, membro del Comitato di Evangelizzazione. …