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Bologna-based painter Puglisi's "Il Grande Sacrificio"--a wood panel painting with strong, gestural strokes of white on black--is exhibited alongside "The Last Supper" in Milan as an homage to Leonardo da Vinci on the 500th anniversary of his death. This volume documents Puglisi's work alongside sketches and preliminary studies.y studies.

A major anthology on opera edited by leading specialists in the field.The title is inspired by the epic drama The Last Days of Mankind by Karl Kraus. Published in full in 1922, the author ridicules the interconnected ills of modernity that he saw as fueling the war machine: nationalism, capitalism, unbridled technology, militarism, journalistic unscrupulousness as well as the Viennese cultural scene at the time; it bears chilling parallels to our world in 2020. The goal of the planned anthology, which will include some 100 essays, is to consider the relevance of opera in today's dystopian world and to look to possible developments in the genre in the foreseeable future.The writers will include opera professionals: singers, directors, conductors as well as creative minds from other domains who can bring new input: philosophers, artists, film directors and actors.The book will feature an iconography of original works by famous artists in particular those of the renowned stage designer Richard Peduzzi.Languages: English and German

A tribute to Wanda Czelkowska, one of the leading artists of the Polish avant-garde. Wanda Czelkowska (1930-2021) was a key figure of the Polish avant-garde, whose oeuvre remained almost unnoticed by art historians until recently. She started her career near the end of the 1950s in Kraków and played an important role in the development of conceptual art in Poland. Member of the famous Grupa Krakowska, she kept her independent voice and never fully committed to the artistic discourse and social life of the group. In this fully illustrated monograph, created in collaboration with the Muzeum Susch, a wide range of authors contextualise Wanda Czelkowska's practice within post-war international discourses such as abstract and conceptual art, feminist practices, the human body and its relation to space.

On Morandi's exquisitely serene art as a distillation of the tumultuous 20th century This volume positions Giorgio Morandi (1890-1964) as a paradigmatic 20th-century figure: a man who lived through two world wars and experienced the full impact of the era's disillusionments. Against this bleak backdrop, he sought stringent order and formal harmony, while leaving room for uncertainty and surprise. This clothbound volume spotlights the artist's paintings and works on paper from the 1920s to the '60s, as well as a wealth of unpublished documents and photographs recently excavated from the Morandi family archives. Marilena Pasquali, an art historian and leading Morandi expert, interprets these materials, connecting them with the arc of his career. Alongside writings by other art historians, Pasquali casts Morandi's art as an ongoing response to the tumultuous, dispiriting times in which he lived.

A scholarly reappraisal of Luini's appropriation of Da Vinci's motifs and compositions This volume examines a selection of paintings from the 1520s by Italian Renaissance painter Bernardino Luini (c. 1480/85-1532) that were highly influenced by Leonardo da Vinci (1452-1519), endeavoring to reconceive Luini's much-criticized lack of originality vis-à-vis the older master. Luini's critics, the book argues, fail to consider the function of his paintings as devotional images for the general public. Not only did Luini simplify and clarify da Vinci's motifs--rendering them accessible to uneducated viewers--but he also helped set a new standard for the depiction of sacred subjects, drawing inspiration from other artists such as Andrea Solario. While little is known about the public's perception of religious art during this period, the compositions of Luini's paintings provide clues--as detectable in the way he foregrounds figures and frames their interactions with one another and the beholder.

Documenting a student-led effort to counter Yale School of Art's diversity problems This book documents the exhibition Lux et Veritas, curated by Bonnie Clearwater in 2022 for NSU Art Museum Fort Lauderdale, which addressed Yale School of Art's historical lack of diversity. This spurred students to form affiliations across the painting, graphic design, sculpture, photography and art history departments, countering the lack of diversity among the faculty by inviting artists, curators and writers of color as advisors and guest speakers; developing an interdisciplinary forum; publishing art journals; organizing exhibitions; and documenting their experiences in video and photography. Artists include: Mike Cloud, William Cordova, Njideka Akunyili Crosby, Abigail DeVille, Torkwase Dyson, John Espinosa, Luis Gispert, Rashawn Griffin, Leslie Hewitt, Loren Holland, Titus Kaphar, Jamerry Kim, Eric N. Mack, Wardell Milan, Wangechi Mutu, Mamiko Otsubo, Ronny Qevedo, Mickalene Thomas, Anna Tsouhlarakis, Shoshanna Weinberger and Kehinde Wiley.

A friend of Jackson Pollock, Franz Kline, Afro, Alberto Burri and Giuseppe Capogrossi, founder of the Eight Street Club and promoter of the ?Ninth Street Show?, one of the most important exhibitions of New York art in the 1950s, but above all an artist who worked in both Europe and America, Conrad Marca-Relli (Boston, 1913 ? Parma, 2000) was a pivotal figure in American Abstract Expressionism.0Published in collaboration with the Archivio Marca-Relli, based at the Niccoli gallery in Parma, the monograph looks back at the milestones in the Italian-American artist?s career, documenting the strong impact of Marca-Relli and his work on the American and international scene.0In the years immediately after the Second World War, Conrad Marca- Relli (Boston, 1913 ? Parma, 2000) was, in fact, one of the protagonists of the New York art scene, first joining the Downton Group and then founding the Eight Street Club in 1949 with Mark Rothko, Fran Kline and William de Kooning. A friend of Jackson Pollock and Lee Krasner, a lecturer at Yale and Berkeley, the Whitney Museum dedicated a solo exhibition him in 1967. A tireless traveller between the United States and Europe, in 1997 he moved to Parma, a city chosen because of his collaboration with the Galleria d?Arte Niccoli, with which he founded the Archivio Marca-Relli in the same year. Since then, the archive has contributed to all the exhibitions dedicated to the artist, including the major retrospective held in the Rotonda on Via Besana in Milan in 2008.0Works by Marca-Relli feature in numerous collections, including the Guggenheim in Bilbao; The Art Institute, MET, MoMA and Whitney Museum of American Art in New York; the San Francisco Museum of Modern Art, the Fondazione Peggy Guggenheim in Venice and the National Gallery of Art, Smithsonian American Art Museum in Washington D.C

The Italian cities, Rome in particular, but also Venice, Florence and Sicily, were destinations for all those who wanted to complete their education through direct contact with art and classical culture. These travels were called the Grand Tour and we want to introduce it again for our younger readers through this activity book, with captivating illustrations, interesting activities and unexpected discoveries.