Pietro Pinti, born as he says 'in the Middle Ages,' worked the land with hoe and plow from his earliest youth. Growing up under Mussolini's Fascist regime on a farm near Florence, he and his family lived under conditions of extreme poverty, as sharecroppers to generally unscrupulous landowners. But during World War II, when millions in towns and cities suffered untold hardships, the hardy Tuscan peasants were well equipped to face the rigors of the era: war or no war, work on the land went on, and Pietro describes month by month a typical year in their lives: how they made wine and olive oil, planted and harvested the wheat by hand, made baskets and ladders from chestnut wood-skills now lost. With sly wit and salty wisdom, Pietro, a natural storyteller who played the trumpet, wrote poetry, and grew famous for his tales of peasants, knights, and brigands, recreates in colorful detail a world and peasant culture that is fast disappearing. Jenny Bawtree, an Englishwoman long settled in Tuscany, was so fascinated by Pietro's stories that she helped shape them into this autobiography, full of color and humor, hardship and nostalgia.
Pietro Pinti, born as he says 'in the Middle Ages,' worked the land with hoe and plow from his earliest youth. Growing up under Mussolini's Fascist regime on a farm near Florence, he and his family lived under conditions of extreme poverty, as sharecroppers to generally unscrupulous landowners. But during World War II, when millions in towns and cities suffered untold hardships, the hardy Tuscan peasants were well equipped to face the rigors of the era: war or no war, work on the land went on, and Pietro describes month by month a typical year in their lives: how they made wine and olive oil, planted and harvested the wheat by hand, made baskets and ladders from chestnut wood-skills now lost. With sly wit and salty wisdom, Pietro, a natural storyteller who played the trumpet, wrote poetry, and grew famous for his tales of peasants, knights, and brigands, recreates in colorful detail a world and peasant culture that is fast disappearing. Jenny Bawtree, an Englishwoman long settled in Tuscany, was so fascinated by Pietro's stories that she helped shape them into this autobiography, full of color and humor, hardship and nostalgia.
Pietro Perugino was a Renaissance painter of the Umbrian school and the teacher of Raphael. He was also one of the first to handle successfully the new medium of oil. His charming compositions are noted for their depth and transparency, as well as for the novelty of his technique, producing sweet and graceful masterpieces that were immensely popular. The striking clarity and elegance of his style would have a lasting impact on the development of the High Renaissance. Delphi’s Masters of Art Series presents the world’s first digital e-Art books, allowing readers to explore the works of great artists in comprehensive detail. This volume presents Perugino’s complete paintings, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1) * The complete paintings of Pietro Perugino – over 500 images, fully indexed and arranged in chronological and alphabetical order * Includes reproductions of rare works * Features a special ‘Highlights’ section, with concise introductions to the masterpieces, giving valuable contextual information * Enlarged ‘Detail’ images, allowing you to explore Perugino’s celebrated works in detail, as featured in traditional art books * Hundreds of images in colour – highly recommended for viewing on tablets and smartphones or as a valuable reference tool on more conventional eReaders * Special chronological and alphabetical contents tables for the paintings * Easily locate the artworks you wish to view * Features four bonus biographies, including Vasari’s seminal work – discover Perugino's world CONTENTS: The Highlights Adoration of the Magi (c. 1473) Delivery of the Keys (1482) Madonna and Child with Saint Rose and Saint Catherine (c. 1490) The Virgin Appearing to Saint Bernard (c. 1492) Pietà (c. 1493) Madonna and Child Enthroned with Saints John the Baptist and Sebastian (1493) Portrait of Francesco delle Opere (1494) Pazzi Crucifixion (1496) Fortitude and Temperance with Six Antique Heroes (c. 1498) Pavia Altarpiece (c. 1499) Self Portrait (c. 1499) Assumption of the Virgin with Four Saints (1500) Madonna and Child (c. 1500) Mary Magdalene (c. 1500) The Battle between Love and Chastity (1503) Annunziata Polyptych (1507) The Paintings The Complete Paintings Alphabetical List of Paintings The Biographies Life of Pietro Perugino (1550) by Giorgio Vasari Perugino (1900) by George C. Williamson Pietro Perugino (1911) by William Michael Rossetti Pietro Perugino (1912) by Selwyn Brinton
Portraits painted in blood Italian artist Pietro Costa presents a series of portraits made using the subjects' blood as pigment. This publication expands on Costa's ongoing Bloodwork project, which incorporates his own blood into works that straddle painting, drawing, photography, sculpture and installation.
The first reference monograph on the artist, this catalogue follows the first institutional exhibitions of Roccasalva held at the MAGASIN in Grenoble and at the Kölnischer Kustverein in Cologne. For over ten years, Pietro Roccasalva has been developing a body of work that is difficult to define but can be considered one of the most wilful contributions to contemporary art. It centers around painting, which has flowered in a manner that is sometimes akin to the old masters and can be seen to spur his engagement with other forms, such as drawing, sculpture, installation, performance, film, and photography. These different outputs are connected by narratives from his conceptual universe. Roccasalva interweaves personal experiences with references to art history, literature, and music as well as to cinema in such a way that it is not uncommon for the works to shift between various levels of reality and fiction. At the same time, they are linked systematically, with each work making reference to its immediate predecessor. In a sense, the artist's oeuvre functions like an enormous house of mirrors -- a labyrinth that seems, more than occasionally, to be furnished with concave or convex mirrors"--Publisher's website.
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