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Notes:

• Issued in conjunction with the exhibition at the Museum of Modern Art, Oct. 11, 1967 to Jan. 1, 1968.
• Bibliography on the sculpture and ceramics of Picasso, compiled by Inga Forslund (p. 215-221)

Subjects:

• Picasso, Pablo, 1881-1973.

Requested by Augsburg Archives

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Notes:

• Copyright 1946.
• Includes bibliographical references (pages 93-95).
• Also issued online.

Subjects:

• Moore, Henry, 1898-1986.
• Moore, Henry, 1898-1986. fast (OCoLC)fst00031241
• Moore, Henry / 1898-

Requested by Augsburg Archives

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Part of the series Collana The Florentine Press;Florentine Press (Series)
Notes:

• Includes bibliographical references (pages 245-258) and index.
• Prologue. The attack — Origins. Conception David’s first cousins: a prophet lost and a prophet found David’s second cousins: the large white man and the golden man David’s first parent: a little thief Birth at Fantiscritti The perilous journey home A new parent: the little redhead — Adolescence. Adoption Friends in high places: David’s godfathers Michelangelo’s two poems How to carve the David What was the David worth? David’s first unveiling A home for David Moving days Placing David on a pedestal The makeover — Maturity. A new Renaissance style Imperfect proportions A modest endowment David’s weapon The biblical David The civic and political David The bronze David An act of God David’s broken arm An unworthy companion — Midlife crisis. Critical fortunes and misfortunes David in peril The first commission to save the David The second commission The third commission and the dignity of the nation David’s new home: the Accademia Relocating the David A birthday party for Michaelangelo The tribune The Moor David The Third David — The golden years. David’s sexuality and censorship The David and homosexuality Michelangelo’s sexuality To preserve, protect and defend a masterpiece Will David collapse? Cloning the David through the 21st century and beyond — Epilogue. Who owns the David? — Notes — Bibliography — Index of names and places — Photo credits — Editor’s note — About the author.
• The story of Michelangelo’s David begins long before Michelangelo ever set chisel to stone. The gigantic block of Carrara marble that was to become the David was quarried more than half a century before anyone saw the statue set up in Florence’s piazza della Signoria. And in between, there’s a litany of contracts, artists and projects in different media while the patrons, the Operai del Duomo, searched for perfection, and finally got it from Michelangelo. The life of David takes unexpected turns in later centuries. It has been seriously damaged several times both intentionally and by accident. Controversies and scandals erupted in the 19th century as the statue was almost destroyed by cleaning with acid and then moved for safeguarding to the Accademia Gallery. In the 20th and 21st centuries he’s become an artistic and popular icon as well as a symbol of Italy. The story of David is rich in conflict, tension, controversy and cultural meaning. It is a very human story of a life-like work of art. Victor Coonin tells this story as a centuries-long biography that explains why David still resonates loudly with a contemporary audience. — Publisher’s website.
• Michelangelo’s David is the world s most famous statue, a universal symbol of Florence and of Italy. Hailed as the epitome of Renaissance art, the David has inspired contemporary artists from Warhol to Banksy and has been reproduced in life-size copies all over the globe. Why does a 500-year-old statue of a religious figure continue to resonate so deeply today? The answer lies in the captivating story of Michelangelo’s David. It is a tale rich in conflict, tension, controversy and cultural meaning. Author Victor Coonin tells this story not as ancient history but as a centuries-long biography right up to the present day. What started simply as a monumental block of Carrara marble took on new vigour in Michelangelo’s gifted hands. The statue is both life-like and larger than life: an embodiment of human accomplishment, of perfection, magnificence and beauty. The David has a life of his own, and this life succeeds in telling us something about ourselves. — Book cover.
• About the author. A. Victor Coonin is James F. Ruffin Chair of Art at Rhodes College. He has received fellowships and grants from the Mellon, Kress, and Fullbright foundations and has served on committees for the Fullbright, National Endowment for the Humanities, and College Art Association. Author of numerous articles and editor of 2 books, this is his first monograph. — Publisher’s website.

Subjects:

• Michelangelo Buonarroti, 1475-1564. David.
• Michelangelo Buonarroti, 1475-1564 — Influence.
• David, King of Israel — Art.
• Sculpture, Renaissance — Italy — Florence.

Requested by Kurpiers, R

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Notes:

• Published in conjunction with the exhibition Calder and Abstraction: From Avante-Garde to Iconic at the Los Angeles County Museum of Art, Los Angeles, California (November 24, 2013 – July 6, 2014). This exhibition is organized by the Los Angeles County Museum of Art, in cooperation with the Calder Foundation, New York — Provided by publisher.
• Includes bibliographical references and index.
• Time, Space, and Moving Forms : Alexander Calder beyond the Beautiful / Stephanie Barron — Sensibility and Science / Jed Perl — Works in the Exhibition — Calder’s Hello Girls : History of a Commission / Ilene Susan Fort — Traveling through Time and Space : Calder in Brazil / Aleca Le Blanc — Calder’s Public Art as Civic Sculpture : The Realization of a Modernist Ideal / Harriet F. Senie.
• Alexander Calder’s most beloved creations–from his mobiles to his public sculpture–are examined from every angle in this stunning book. Widely considered one of the most important artists of the 20th century, Alexander Calder revolutionized modern sculpture–most significantly with his kinetic works, for which Marcel Duchamp coined the term mobiles. Later in his career, Calder created enormous versions of these floating abstractions. Their arching forms, dynamic surfaces, and sheer mass reflected his fascination with engineering and technology. This book focuses on Calder’s earlier, interior-scaled works, which paved the way for the public works that continue to fascinate viewers around the world. Filled with images of Calder’s elegant, colorful, floating shapes, this volume offers a number of critical texts that enrich our understanding of this innovative artist. Together with an illustrated exhibition chronology and bibliography, this in-depth and highly engaging volume offers something for every fan of Calder’s work — Provided by publisher.

Subjects:

• Calder, Alexander, 1898-1976 — Exhibitions.
• Sculpture, Abstract — United States — Exhibitions.

Requested by Anderson, K.

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Notes:

• Bibliography: p. [37]

Subjects:

• Sculpture, Indic.
• Sculpture, Khmer.
• Sculpture, Cham.

Requested by Swanson, J.

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Notes:

• Catalog of an exhibition held at the Metropolitan Museum of Art, New York, Oct. 3, 2012-Jan. 6, 2013, and at the Kimbell Art Museum, Fort Worth, Feb. 3-Apr. 14, 2013.
• The brilliantly expressive clay models created by Gian Lorenzo Bernini (1598-1680) as sketches for his works in marble offer extraordinary insights into his creative imagination. Although long admired, the terracotta models have never been the subject of such detailed examination. This publication presents a wealth of new discoveries (including evidence of the artist’s fingerprints imprinted on the clay), resolving lingering issues of attribution while giving readers a vivid sense of how the artist and his assistants fulfilled a steady stream of monumental commissions. Essays describe Bernini’s education as a modeler his approach to preparatory drawings his use of assistants and the response to his models by 17th-century collectors. Extensive research by conservators and art historians explores the different types of models created in Bernini’s workshop. Richly illustrated, Bernini transforms our understanding of the sculptor and his distinctive and fascinating working methods. –Publisher’s website.
• Includes bibliographical references (p. 386-406) and index.
• Introduction / C.D. Dickerson — Bernini at the beginning: the formation of a master modeler / C.D. Dickerson — Sketching on paper and in clay: Bernini’s use of preparatory drawings and models / Ian Wardropper — The role of terracotta models in Bernini’s workshop / Andrea Bacchi — Creating an eye for models: the role of Bernini / Tomaso Montanari — The fire of art ?: a historiography of Bernini’s Bozzetti / Steven F. Ostrow — Visual Glossary / Anthony Sigel — Catalogue. Working for the Barberini Fountains Chapels and Saints Equestrian Monuments Working for the Chigi The Ponte Sant’Angelo Alter of the blessed sacrament / C.D. Dickerson and Anthony Sigel.

Subjects:

• Bernini, Gian Lorenzo, 1598-1680 — Exhibitions.
• Terra-cotta sculpture, Italian — 17th century — Exhibitions.
• Terra-cotta sculpture, Italian — 18th century — Exhibitions.

Requested by Anderson, K