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Illustrati

Come diventare un artista

Jerry Saltz

publisher: Johan & Levi

pages: 176 pagine

You’ve always dreamed of being an artist and are almost convinced that you’ve got what it takes but when it comes to the point, you are too petrified to take the plunge. A little jeering voice tells you that you’re not really all that good, your CV isn’t up to it, you’re too stupid or in any case not very original, you won’t fool anyone
An artist undertaking a portrait cannot but consider the pose to be given to the subject. Standing, sitting or reclining? What feelings will the expression convey? Will the arms be folded or busy performing some apotropaic rite? While a portrait unquestionably strikes us first and foremost for the quality of the painting and the sitter’s identity, every gesture, expression and posture of the body actually constitutes a key to a casket in which we can discover traces of the lifestyle of a particular historical period and legacies of cultures distant in time and space. And who could be better able than Desmond Morris to take up the challenge of recounting the history of body language in such a way as to delight the reader? Combining his two personae, the ethologist and Surrealist painter, he guides us on an extraordinary exploration of the postures that have attracted the attention of art lovers for centuries, from Roman statuary all the way to Pop Art. We thus discover why Napoleon was always portrayed hand-in-waistcoat and sovereigns often with one foot towards the viewer. And while it is true that gestures like shaking the fist are universal, sticking out the tongue out can be interpreted as a manifestation of demonic nature or simple childish impertinence depending on the period involved. With brilliant insight, Morris tells us how artists have given shape in their works to the changes involving social habits and conventions over the centuries. In doing so, he encounters surprising similarities and eternal recurrences, rediscovering long-forgotten gestures and shedding new light on masterpieces regarded as more familiar.
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In posa

L'arte e il linguaggio del corpo

Desmond Morris

publisher: Johan & Levi

pages: 320 pagine

An artist undertaking a portrait cannot but consider the pose to be given to the subject. Standing, sitting or reclining? What feelings will the expression convey? Will the arms be folded or busy performing some apotropaic rite? While a portrait unquestionably strikes us first and foremost for the quality of the painting and the sitter’s identity
The exhibition “Il viaggio della Chimera. Gli Etruschi a Milano tra archeologia e collezionismo” (12 December 2018-12 May 2019), at the Civico Museo Archeologico in Milan, conceived and organized by the Fondazione Luigi Rovati and the Civico Museo Archeologico in collaboration with the Superintendence of Archaeology, Fine Arts and Landscape of Milan, highlights the connections between Milan and the Etruscan world, which started to emerge in the mid-18th century with the creation of the oldest part of the Milanese archaeological collections and was cemented in the post-war years when the city hosted a major exhibition of Etruscan art and civilization, curated by Massimo Pallottini at the Palazzo Royale in 1955. This watershed moment marked the start of a fruitful period for Etruscology in Milan from the surveys by the Fondazione C.M. Lerici at the Politecnico to the campaigns carried out by the University of Milan in Tarquinia and in Etruria at Forcello di Bagnolo San Vito.  Exploration of the connections between Milan and the Etruscans continues to bear fruit as borne out by the recent excavations carried out in Populonia by the Università Cattolica and the forthcoming opening of the Etruscan Museum at 52, Corso Venezia. The exhibition is arranged over five sections with more than 200 items from leading archaeological museums in Italy, including the Civico Museo Archeologico in Milan and the Fondazione Luigi Rovati itself, offering a preview of some of the items that will form the collection in the new Etruscan museum. The catalogue is also divided into five sections. The section on collecting and collectors draws on the Etruscan collections of the Museo Civico Archeologico, the Fondazione Rovati and the Milanese historic core collection comprising the findings of Pelagio Palagi, Amilcare Ancona and Jules Sambon. The focus then shifts to the 1955 exhibition at the Palazzo Reale on Etruscan art and civilization and so to the excavations supported by the Fondazione C.M. Lerici at the Politecnico di Milano and the Milanese universities in Etruria, Campania and Etruria Padana, where many inscriptions have been found providing evidence of an Etruscan presence north of the Po. Three themes are examined in more depth: canopic urns and the representation of the human figure; the orientalizing fantastic bestiary, and myth. They offer a transversal interpretation of the exhibits and introduce the section with detailed descriptions of the objects on show. 
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Il viaggio della Chimera

Gli Etruschi a Milano tra archeologia e collezionismo

publisher: Johan & Levi

pages: 360 pagine

The exhibition “Il viaggio della Chimera. Gli Etruschi a Milano tra archeologia e collezionismo” (12 December 2018-12 May 2019), at the Civico Museo Archeologico in Milan, conceived and organized by the Fondazione Luigi Rovati and the Civico Museo Archeologico in collaboration with the Superintendence of Archaeology, Fine Arts and Landscape of
The cat – that most elegant, stubborn and artful of creatures – has been a subject favoured by artists of every culture and period since time immemorial. The spectacular stone carving created in Libya 7,000 years ago is possibly the earliest depiction of a cat fight, marking the beginning of a long uninterrupted visual tradition. A profusion of images that is not always matched by unequivocal sentiments for the cat which, while being among the most blessed of domestic animals, has often been a victim of hate and persecution over the centuries. From sacred animal in ancient Egypt to deterrent for rodents in the Babylonian civilization, an ally of man against the fatal bite of the viper, valued for its hunting prowess and immortalized as a good hunting companion, the cat gradually relinquished such practical activities to become the lazy friend of man, who opened the doors of his home to it. The cohabitation did not, however, last long and the relationship went through further ups and downs. At the end of the Middle Ages the prevalent image was as maleficent companion of the devil, a view that coincides with the sinister role allocated to it in paintings. It rarely, if ever, appears as protagonist in the work of the great masters but rather as a mere accessory, curled up at the feet of a female figure. It would have to wait for the arrival of Victorian sentimentalism before it could make a come-back, when this radical change in status saw it portrayed in intimate family scenes. This was the best time to be a cat, a golden age both for the affectionate relationship with its human companion and for the central role it played in works of art, where it is finally master of the scene. The greatest zoologist of our time, aware of every feline nuance, writes about history of art through the lens of cat-loving artists. For Pablo Picasso it was a symbol of ruthless violence, depicted as a fierce predator; for Balthus it was the supreme emblem of female sexuality; it was a very popular subject among cartoonists and caricaturists and used by Banksy as a vehicle for political protest.  The cat is an inexhaustible source for visual exploration and flights of fancy.
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I gatti nell'arte

Desmond Morris

publisher: Johan & Levi

pages: 224 pagine

The cat – that most elegant, stubborn and artful of creatures – has been a subject favoured by artists of every culture and period since time immemorial. The spectacular stone carving created in Libya 7,000 years ago is possibly the earliest depiction of a cat fight, marking the beginning of a long uninterrupted visual tradition. A profusion of
Surrealism developed after the First World War, initially as a lifestyle rather than an actual artistic movement. Angered by an establishment that had made that massacre possible, the Surrealists came up with an unconscious strategy able to free humanity from the ties of reason and aesthetic conventions, restoring a central role to the dimension of dreams and eroticism through psychic automatism. From 1924 onwards, André Breton, the main theorist behind this doctrine, controlled the reins of an insolent group of intellectuals for over forty years. With its break-ups, mutinies and expulsions, this was one of the most fascinating and troubled artistic experiences of the 20th century. Desmond Morris held his first Surrealist solo exhibition in 1948. While he soon went on to become one of the most famous science writers of his generation, he frequented the irresistible personalities whose adventures are described here for many years. They included Roberto Matta, who had the name of the Marquis de Sade branded on him to find favour with Breton; Giacometti who turned down Marlene Dietrich (and her forty-four suitcases) for a prostitute, Caroline Tamagno, who was well-known in the Parisian underworld; Miró and Masson, forced by Hemingway to take one another on in a disastrous boxing match; Salvador Dalí in a diving suit, billiard cue at the ready and two greyhounds on the lead, as he performs in front of hundreds of journalists at the International Surrealist Exhibition of 1936. Thirty-two eccentric stories that wind their way through the bistros of the ville lumière and the most incongruous places, such as London Zoo, before finally arriving in New York, where the first seeds of Abstract Expressionism begin to be sown. Following the kaleidoscopic proliferations of Surrealism embodied by extremely diverse artists, including Max Ernst, Picasso, Delvaux and Duchamp, Morris celebrates the intensity, delirium and mystery that, as Magritte would say, “cannot be explained, you just have to let it envelop you.”
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Le vite dei surrealisti

Desmond Morris

publisher: Johan & Levi

pages: 272 pagine

Surrealism developed after the First World War, initially as a lifestyle rather than an actual artistic movement. Angered by an establishment that had made that massacre possible, the Surrealists came up with an unconscious strategy able to free humanity from the ties of reason and aesthetic conventions, restoring a central role to the dimension of

Petala aurea

Gold Sheet-work of Byzantine and Lombard Origin from the Rovati Collection

Caterina Giostra, Marco Sannazaro

publisher: Johan & Levi

pages: 240 pagine

Petala aurea(gold petals) is the term used in early medieval treatises for the thin sheets of gold leaf or bracteae used in jewellery. The book presents the 47 items of gold leaf, with some exceptions in silver alloy, owned by the Rovati family of Monza, industrialists and art collectors. Exhibited for the first time in Monza in the chapel of the V

Double Portrait

Zoran Music - Ida Barbarigo

publisher: Johan & Levi

pages: 212 pagine

"Each became absorbed in their own artistic universe, in ways that gradually acquired consistency and weightover the years. Art animated their lives, an inexorable imperative. Painting was the sole, intimate necessity for both, perhaps the only real secret of their indissoluble bond."

Arte ri-programmata

Un manifesto aperto

publisher: Johan & Levi

pages: 190 pagine

Re-programmed Art: An Open Manifesto is an action research project that explored the impact of methods and approaches linked to open source hardware and software on the field of art. The aim was to produce a number of physical and technological artefacts whose information and implementation specifications are publicly released under free licenses.T

Frammenti di vita etrusca

Pitture tarquinesi da una collezione privata

publisher: Johan & Levi

pages: 108 pagine

Nel corso dei secoli il patrimonio storico-artistico italiano è stato trafugato e molte opere, dei più svariati generi, hanno alimentato un fiorente mercato spesso illegale di opere d’arte antica. A volte, fortunatamente, pezzi della nostra storia riescono a tornare in patria per via ufficiale andando a ricostruire tasselli mancanti di un grand

Roma interrotta

Twelve Interventions on the Nolli's Plan of Rome

publisher: Johan & Levi

pages: 240 pagine

In his 'Nuova Pianta di Roma' dated 1748, Giovanni Battista Nolli presented for the first time the Eternal City as a complete organism: divided into twelve tables, the plan reproduces all mechanisms of Rome, showing the external and internal 'spaces' created by removing the solid mass of built-up areas. Almost two hundred fifty years later, in 197

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