Howard Hibbard Bücher

A tour of the great museum's outstanding collections of paintings, sculpture, furniture, antiquities, porcelain, and faience is accompanied by accounts of the museum's early history and its great collectors and directors

Sculptor and architect Bernini was the virtual creator and greatest exponent of Baroque in 17th century Italy. He has left his greatest mark on Rome where Papal patronage provided him with enormous architectural commissions.TABLE OF CONTENTSBerniniList of PlatesList of Text FiguresForewordIntroduction1. The Prodigy2. Bernini in Command3. Disaster and Triumph4. Two Churches and St. Peter’s5. Le Cavalier en France6. The Late WorksBibliographical NoteNotes to the TextIndex

In this study, the author evaluates the work of Caravaggio: notorious as a painter-assassin, hailed by many as an original interpreter of the scriptures, a man whose exploration of nature has been likened to that of Galileo.

Caravaggio is the most arresting European painter of the years around 1600. Although he died in 1610, in his thirty-ninth year, he is often considered the most important Italian painter of the entire seventeenth century. He is also notorious as a painter-assassin: he killed a man in 1606, and a similar crime was rumored in his youth. Caravaggio's painting speak to us more personally and more poignantly than any others of the time. We meet him over the gulf of centuries, not as a commanding and admirable historical figure like Annibale Carracci, but as an artist who somehow cut through the artistic conventions of his time right down to the universal blood and bone of life.

Testi di Howard Hibbard.A cura di Aurora Scotti Tosini.Milano, 2001; ril. in tela in cofanetto, ril. in tela in cofanetto, pp. 336, 300 ill. b/n, cm 25x28.(Architettura).(Architetti classici). Si tratta dell'edizione italiana del volume di Howard Hibbard su Carlo Maderno, architetto italiano del secondo Cinquecento. Il testo di Hibbard rappresentava un'opera fondamentale per gli studi sull'architettura italiana tra Cinque e Seicento, in anni in cui l'interesse sulle attività di Maderno era limitato agli storici ticinesi e privilegiava l'analisi della facciata di San Pietro (1612) e della chiesa di Santa Susanna (1597-1603). Il lavoro ha mantenuto le caratteristiche di uno studio capillare e ben documentato sui molti cantieri diretti da Maderno con schede puntuali e calibrate sui problemi di linguaggio, commitenza e funzionalità.