Relevant bibliographies by topics / Accademia di belle arti (Carrara, Italy)

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Academic literature on the topic 'Accademia di belle arti (Carrara, Italy)'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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Books on the topic "Accademia di belle arti (Carrara, Italy)"

1

Canali, Daniele. L' Accademia di belle arti di Carrara. [Cinisello Balsamo, Italy]: Silvana, 1992.

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2

Accademia di belle arti (Carrara, Italy), ed. L'Accademia di belle arti di Carrara e il suo patrimonio. Milano: Postmedia books, 2015.

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Accademia belle arti Ravenna: Centottant'anni. Ravenna: Longo, 2010.

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4

Corti, Vittoria. L' Accademia di Pietro Leopoldo. (Firenze: L'Accademia), 1985.

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5

Carrara, Accademia. Accademia Carrara di belle arti: Guida alla visita e catalogo dei dipinti esposti. Bergamo: The Accademia, 1998.

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Emiliani, Andrea. Il politecnico delle arti: Belle arti/Beaux arts, 1789-1989 : un libro bianco per la Pinacoteca nazionale e l'Accademia di belle arti di Bologna. Bologna: Nuova Alfa editoriale, 1989.

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7

Biennale, internazionale di scultura "Città di Carrara" (8th 1996 Cararra Italy). VIII Biennale internazionale di scultura: Alviani, Bodini, Borgui, Bourgeois... [Carrara, Accademia di Belle Arti, 20 luglio - 29 settembre 1996]. [S.l.]: Silvana editoriale, 1996.

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Musiari, Antonio. Neoclassicismo senza modelli: L'Accademia di belle arti di Parma tra il periodo napoleonico e la restaurazione (1796-1820). [Parma]: Zara, 1986.

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Pellegri, Marco. Concorsi dell'Accademia reale di belle arti di Parma: Dal 1757 al 1796. Parma: [s.n.], 1988.

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Accademia nazionale di belle arti (Parma, Italy), ed. La galleria delle arti dell'Accademia di Parma: Parma 1752-2007. Parma: MUP Monte Università Parma, 2007.

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Book chapters on the topic "Accademia di belle arti (Carrara, Italy)"

1

Hecker, Sharon. "Monuments without Idols." In Moment's Monument. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520294486.003.0003.

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This chapter traces four significant rejections that marked Medardo Rosso's early career in Italy. He made two revolutionary monument proposals for Giuseppe Garibaldi, but the Italian establishment immediately rejected them. In these public projects, Rosso dared to criticize what he saw as falsely reassuring nation-building myths. Rosso also was expelled from the Accademia di Belle Arti di Brera, and his first radical funerary monument, La Riconoscenza, was removed from the local cemetery for its frank and emotionally explicit portrayal of mourning and death. The chapter argues that Rosso adopted an artistic language of protest to experiment with new forms of expression that rejected the heroic idioms of traditional sculpture. His original antiheroic monument proposals expressed far-reaching ideas that aimed to revolutionize the concept of the monument in modern times.
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