L’Autore dipinge un Viaggio alla scoperta dei sinceri Sentimenti per regalare le Emozioni che scaldino i Cuori, liberando le Menti il Lettore con la Poesia, apprezza la Cultura e l’Amore per l’Arte vivendo la Gioia di Condividere gli stessi Brividi e di farne parte una vera Sinfonia d’immagini, su uno sfondo ogni volta diverso crea il soffio di Vita che dirada le nuvole d’un nuovo Cielo terso sulla tela il Cuore palpitante disegna di colori le mille sfumature e nascono Versi che scolpiscono pitture, dipingendone sculture The Author paints a Journey at the discovery of true Sentiments to gift the Emotions that warm up the Hearts, freeing the Heads the Reader with the Poetry, appreciates the Culture and the Love for Art living the Joy to Share the same Shivers and of it being a part a real Symphony of images, always on different backgrounds he creates the wind of Life that clears the new Sky from the clouds on the canvas the pounding Heart draws thousands of shades of colours growing Verses that sculpt paintings and paint sculptures

Little Bird is on a mission: to help lonely children make friends. One day she spots Sami, a little boy in a new country, who's always playing on his own. With Little Bird's help, Sami quickly discovers that the world is full of friends, if only you know where to look. With rich, magical illustrations and a gently humorous story, Devon Holzwarth's debut picture book will strike a chord with shy children everywhere.

It's bedtime, but Sophie needs one more bedtime story.And every time Sophie opens a book, it transports her to a magical storybook land. One story sweeps her away on a flying carpet. Another whisks her to Wonderland, with white rabbits and talking mushrooms. How on earth can she go to sleep, when stories are just so exciting?

Edition commentée de ce poème latin de 549 vers sur l'art de la peinture qui connut un succès considérable aux XVIIe et XVIIIe siècles.

In this exuberantly satirical novel, the tutor Atzbacher has been summoned by his friend Reger to meet him in a Viennese museum. While Reger gazes at a Tintoretto portrait, Atzbacher—who fears Reger's plans to kill himself—gives us a portrait of the musicologist: his wisdom, his devotion to his wife, and his love-hate relationship with art. With characteristically acerbic wit, Bernhard exposes the pretensions and aspirations of humanity in a novel at once pessimistic and strangely exhilarating. "Bernhard's . . . most enjoyable novel."—Robert Craft, New York Review of Books. "Bernhard is one of the masters of contemporary European fiction."—George Steiner

HMSBA is Harvey Miller Studies in Baroque Art.

Dante's classic is presented in the original Italian as well as in a new prose translation, and is accompanied by commentary on the poem's background and allegory.

A novel exploration of the threads of continuity, rivalry, and self-conscious borrowing that connect the Baroque innovator with his Renaissance paragon Gianlorenzo Bernini (1598–1680), like all ambitious artists, imitated eminent predecessors. What set him apart was his lifelong and multifaceted focus on Michelangelo Buonarroti—the master of the previous age. Bernini’s Michelangelo is the first comprehensive examination of Bernini’s persistent and wide-ranging imitation of Michelangelo’s canon (his art and its rules). Prevailing accounts submit that Michelangelo’s pervasive, yet controversial, example was overcome during Bernini’s time, when it was rejected as an advantageous model for enterprising artists. Carolina Mangone reconsiders this view, demonstrating how the Baroque innovator formulated his work by emulating his divisive Renaissance forebear’s oeuvre. Such imitation earned him the moniker “Michelangelo of his age.” Investigating Bernini’s “imitatio Buonarroti” in its extraordinary scope and variety, this book identifies principles that pervade his production over seven decades in papal Rome. Close analysis of religious sculptures, tomb monuments, architectural ornament, and the design of New Saint Peter’s reveals how Bernini approached Michelangelo’s art as a surprisingly flexible repertory of precepts and forms that he reconciled—here with daring license, there with creative restraint—to the aesthetic, sacred, and theoretical imperatives of his own era. Situating Bernini’s imitation in dialogue with that by other artists as well as with contemporaneous writings on Michelangelo’s art, Mangone repositions the Renaissance master in the artistic concerns of the Baroque from peripheral to pivotal. Without Michelangelo, there was no Bernini.