Average customer rating:
- Morandi gets a fair shake
- My oldest possession.
- Excellent book
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Giorgio Morandi (Twentieth-Century Masters Series)
Karen Wilkin
Manufacturer: Rizzoli International Publications
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Similar Items:
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Giorgio Morandi: Paintings, Watercolours, Drawings, Etchings (Art & Design)
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Giorgio Morandi: The Art of Silence
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The Art of Richard Diebenkorn (Ahmanson-Murphy Fine Arts Book)
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Morandi (Art Gallery series)
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Milton Avery: The Late Paintings
ASIN: 0847819477
Release Date: 1998-03-15 |
Book Description
This much-anticipated volume presents the work of the private, enigmatic Bolognese painter and engraver. The text traces Morandi's many influences, from Giotto to Cezanne and the Metaphysical painters to the Cubists, and discusses the manner in which his life and work have informed the critical interpretations of his art. A wealth of color reproductions illustrates every phase of Morandi's career, including his signature still lifes and landscapes with their serene groupings of muted objects.
Customer Reviews:
Morandi gets a fair shake.......2006-12-03
This is one of the best books on Morandi that I've come across. Wilkin's text is wonderfully clear and objective, and mercifully free of "art babble." The illustrations are well chosen and very, very well printed. Not everyone "gets" Morandi, as Wilkin points out, but this representation of his work will certain make a few converts.
My oldest possession........2002-02-09
It's true, this book is my oldest possession, from an earlier printing, I've had this book since the early 70's. If you are a painter and want to learn how to put space and light into your work then this book is your greatest resource and greatest challenge. For those in the know, Morandi is THE ONE for creating a palpable space in two demensions. The space shimmers and moves - it's real!
Excellent book.......2000-06-02
The prints are excellent - both in terms of variety and quality of print. I use them in classes and they are really a treasure. The text is very readable and enjoyable as well (though I care more about the print quality).
Book Description
Giorgio Morandi (1890–1964), an Italian painter and printmaker renowned for his simple yet stunning still lifes, is also famous for his legendary reputation as a recluse, an artist who resided in a world bound by the walls of his Bologna studio. Giorgio Morandi: The Art of Silence dispels this myth and is the first and only study in English to cover Morandi’s career in its entirety as well as in the sociopolitical and cultural context of Italian art.
Janet Abramowicz, Morandi’s former teaching assistant, takes the reader through half a century of Italian art history and its most significant movements—Futurism, Pittura Metafisica, Valori Plastici, Strapaese, Novecento—most of which have received scant attention from English-language scholars. Abramowicz shows how Morandi worked in close proximity to mainstream contemporary European art and tells the story of his relationship to the Fascist politics and patrons of his time, illustrating how his connections to this period were muted after the fall of the regime in post–World War II Italy in an effort to establish the artist as apolitical. Morandi was the only Italian modernist to emerge from Fascism unscathed.
An important new addition to scholarship on twentieth-century Italian art history, this book features many rare and previously unpublished images and will fascinate admirers of Morandi and his transcendent work.
Customer Reviews:
Not silent anymore.......2007-01-09
I found the book to be very revealing about the misconceptions of the artist Morandi. It gives the political and cultural backgrounds of the artist's life in Italy. It traces the hopes of fascism and its ultimate disappointments.
While revealing much about the life and times of the artist it leaves the mystery and beauty of his work intact. Knowing about the forces against him made me more appreciative of his unigue gift.
I would have liked to see more reproductions of the paintings mentioned in the text. I get annoyed reading about a painting I can't see for my self.
Over all I found it a rewarding reading experience.
Customer Reviews:
Colour Reproductions disappoint.......2002-08-30
The colour reproductions of Morandi's oil Paintings are very disappointing. The prints didn't "live " at all and have lost the subtlety of colour that characterises Morandi's work. There is little or no depth to the colour. Morandi's deep toned accents suffer and appear thin. Those marvellous flashes of apricot/orange are maddenly deadened. There is often an overbalance of a greenish ochre in the colour print. The textural quality of Morandi's brushwork is curiously flattened and lifeless.
Fortunately the Watercolours, drawings and etchings have not suffered to the same extent: although I cannot believe the grey cast that is given to what must have frequently been a variety of white papers.
Good text. Informative photographs but overall a disappointing purchase - especially in NZ dollars.
The best Morandi title under $200.00.......2000-06-13
The great strength of this book is its inclusive nature and the quality of printing. Morandi, like many painters, worked out in drawing what would he would find later in the paintings, his best known medium. There are enough water-colors and etchings to enhance the understanding of his paintings by featuring his interests in color and tone in the former, shape and tonal areas in the latter. All these and clearer reproduction (especially of brush strokes, surface textures) make it a better buy than the also useful K. Wilkin book on Morandi. Morandi fans won't mind owning both books; even among the paintings there is not great overlap in particular works. Where there is a double, the differences help remind you of the limitations of reproductions, no matter what book they're in. (PS the Morandi Museum in Bologna, Italy is worth a trip to that city in itself.)
The Reader's Digest Version.......2000-01-10
If you have had the opportunity to see the (out-of-print) show catalogue (Giorgio Morandi: [catalogue of] an exhibition of paintings, water-colours, drawings and etchings) this skimpy overview will not only disappoint, it also will not whet your appetite for more of this insightful artist's oeuvre.
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Morandi
Karen Wilkin
Manufacturer: Ediciones Poligrafa
ProductGroup: Book
Binding: Hardcover
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Morandi, Giorgio
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ASIN: 8434308533 |
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Field Theories for Low-Dimensional Condensed Matter Systems
Manufacturer: Springer
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Mechanical Properties of Solids
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ASIN: 3540671773 |
Book Description
The contributions in this book give a high-level coverage of many of the subjects and techniques needed to understand the physics of low-dimensional condensed matter systems. The topics presented include the use of conformal field theories, the Luttinger liquid approach to one-dimensional electron systems, and the use of random matrices in problems connected with quantum chaos. The contributions are authored by some of the most prominent physicists active in the field, among them the 1998 Nobel Prize laureate R. B. Laughlin. The book should become an extremely useful instrument for all those interested in theoretical condensed matter physics.
Book Description
Morandi is often defined within the traditions of still life and landscape painting, and is known for the domestic and local source of his subject matter. However, the radical nature of his work addresses themes that have become central within contemporary artistic practice. An exploration of the influence of his work on generations of British artists, this fascinating exhibition will juxtapose paintings and drawings by Morandi with signature works by artists such as David Hockney, Tony Cragg, Patrick Caulfield, Euan Uglow and Ben Nicholson.
Book Description
This survey of the work of 20th-century Italian artist Giorgio Morandi, an increasingly popular subject of exhibits around the world, examines his still lifes, landscapes, and engravings and compares his work to those of similar subject matter. Cézannian concepts, metaphysics, and introspection are among the themes that reveal his boundless affection for domesticity and his desire to surpass it. This retrospective provides insight into Morandi's work and how his aesthetic differs from other 20th-century artists.
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Giorgio Morandi: San Francisco Museum of Modern Art, September 24-November 1, 1981, The Solomon R. Guggenheim Museum, New York, November 19, 1981-January ... Moines Art Center, February 1-March 14, 1982
Giorgio Morandi , and
James T. Demetrion
Manufacturer: Des Moines Art Center
ProductGroup: Book
Binding: Paperback
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Morandi, Giorgio
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ASIN: B0006E50ZA |
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- Knowledge vs. The Church: A Fresh Look at a Perennial Struggle
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Morandi's Last Prophecy and the End of Renaissance Politics
Brendan Dooley
Manufacturer: Princeton University Press
ProductGroup: Book
Binding: Hardcover
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Morandi, Giorgio
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ASIN: 0691048649 |
Book Description
One year before Galileo's, another trial was the talk of Rome. The city's most notorious astrologer--Orazio Morandi, abbot of the monastery of Santa Prassede--was brought before the governor's court on charges of possessing prohibited books, fortune telling, and political chicanery. His most serious crime was to have predicted the death of Pope Urban VIII and allowed news of this to spread as far as Spain, where cardinals quickly embarked for Italy to attend a conclave that would not occur for fourteen years. The pope, furious at such astrological and political effrontery, personally ordered the criminal inquiry that led to Morandi's arrest, trial, and death in prison, probably by assassination.
Based on new evidence, this book chronicles Morandi's fabulous rise and fall against the backdrop of enormous political and cultural turmoil that characterized Italy in the early seventeenth century. It documents a world in which occult knowledge commanded power, reveals widespread libertinism behind monastery walls, and illuminates the arduous metamorphosis of intellectual culture already underway. It also sets the stage for, and lends new understanding to, the trial of Galileo that would follow shortly.
The mystery of Morandi concerns the basic compulsion to advance in a status-drenched society and the very nature of knowledge at the birth of science. Told here in colorful detail, Morandi's story is fascinating in its own right. Beyond that, it allows us to glimpse the underside of early modern high society as never before.
Customer Reviews:
Knowledge vs. The Church: A Fresh Look at a Perennial Struggle.......2005-08-18
Innovations in science by individuals like Galileo, Francis Bacon, and William Harvey amounted to an attack on the European intellectual establishment in the early decades of the seventeenth century. Tension centered on the relation between knowledge and religious faith. In terms of political power, some, like Thomas Hobbes, were developing theories of government based on concepts of "natural law". At the same time, there were older forms of knowledge competing with the new ones: occult, philosophy, alchemy, and astrology. All of these intellectual and religious strands combined to produce a rather volatile period. It is within the upper echelons of the political and religious circles of this period that the life and times of Orazio Morandi took place. His story, eloquently re-told and interpreted by Brendan Dooley in his book, "Morandi's Last Prophecy and the End of Renaissance Politics" (2002), attempts to explain the seemingly contradictory vicissitudes of a complicated era. Indeed, one of Dooley's primary goals is to explain why a figure like Galileo, a one-time friend of the pope, quickly fell out of favor and found himself condemned to house arrest.
Dooley's book opens like a crime novel in the tradition of Dostoevsky's "Crime and Punishment", wherein the reader witnesses the crime at the outset and the remainder of the narrative focuses on attempts by the authorities at solving the case. In our story, the crime is the astrological prediction of Pope Urban VIII's death in 1630. Although the prediction is released anonymously, many individuals in astrological circles and elsewhere were aware that it was issued by Orazio Morandi, abbot of the Santa Prassede monastery in Rome. At this point in his career, Morandi was considered an authority on many astrological subjects and his word held considerable weight. In response, Spain and Germany sent delegations of Cardinals to Rome in anticipation of an upcoming conclave. However, the predetermined date passed and the pope remained alive and well. Clearly upset, the pope ordered the arrest of Morandi and a trial was launched. When Morandi was found dead in his cell in November of that year, the trial was immediately halted. In the following April, the pope issued the harshest papal bull against astrology ever put forth, thus setting the stage for Galileo's subsequent reception.
The incident damaged the discipline of astrology on several fronts. The increasing view of astrology as an "entrepreneurial" science began to affect its credibility with regard to other disciplines (the reader is reminded here of Anthony Grafton's comparison of astrology with economics). Additionally, the stringency of Urban's 1631 bull served to push astrology further from mainstream practice, in effect securing Morandi's place as one of the last great Roman astrologers.
The power of the bull was soon tested on a new case: the trial of Galileo. Galileo had held favor with Urban VIII, as an acquaintance and quite possibly his friend. Upon publication of Galileo's "Dialogue Concerning the Two Chief World Systems", the pope "exploded into great anger" (p. 183). Dooley argues that Urban's reaction should be seen in light of the Morandi affair. Most scholarly treatments of the Galileo case have been "examined largely from the point of view of the history of philosophy" (p. 185). If the Galileo case is "examined from the point of view of the history of elites within the culture and society of Baroque Italy," the many "facts of the case begin to make sense for the first time" (p. 186). In this light, the different personalities involved become fleshed out and we finally begin to "discern the true contours of the complex cultural world in which new ideas were explored" (p. 186). The relationship between practitioners of natural philosophy and officials of the Church has always been a tenuous one. With Galileo's book arriving on the heels of Morandi's excessive behavior, Dooley argues that "in the heat of conflict between the philosophers and their accusers, the various strands within Renaissance culture that had been bound together by a thread began to come undone" (p. 186). In the early 1630s, religion proved to be "an easily controllable terrain for carrying on the struggle" to rein the philosophers in. Subsequent events have shown, however, that the "philosophers were not going to go away" (p. 186).
Book Description
A "tattoo" is a bugle call, a summoning that lingers in the ear. Although Hortense Calisher's family eventually migrated north to New York City, the echoes of their days as a slave-owning Jewish family in the South still resonate with this acclaimed author, who uncovers a part of history never before so strongly and tenderly revealed.
Calisher traces her family's years in the South and their transformative move up north, beautifully evoking the mood and texture of the early twentieth century. Her Virginia-born father, a perfume manufacturer, was twenty-two years older than her German-born mother. Marked by longer-than-normal gaps between the generations and conflicts between the mercantile and the scholarly, the "American" and the émigré, her family is characterized by Calisher as "volcanic to meditative to fruitfully dull, and bound to produce someone interested in character, society, and time."
Customer Reviews:
Unnecessarily obscure, but interesting.......2006-02-18
I am halfway through this book and, as one of the Amazon editorial reviews warns, as a first time reader of Calisher, I am finding myself somewhat lost.
There are wonderful sections on Calisher's family and her childhood, her parents' and grandparents' histories. But there are also pages and paragraphs so inscrutable that I am becoming frustrated.
At times I feel like I did in college, reading French literature in French that I only partially comprehended.
What's with Calisher? Is it her age (92) that makes her write this way? Does she have things to hide? The sections I've been reading from about page 120 onward about her first marriage are particularly obscure. I'm at page 160 now, and not sure if I plan to go on.
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