Il vero cioè il falso. Invenzione, riconoscimento e rivelazione nell'arte.

Art Inst of Chicago 2025 cm.23x29, pp.111, legatura editoriale in tutta tela. An acrobat, carpenter, railroad repairman, and two-time naval war veteran, sculptor H. C. Westermann (1922–1981) rose to prominence in Chicago in the 1950s with new forms inspired by his personal experiences. This overdue reassessment of an understudied artist includes stunning new photographs of Westermann’s intricate and exceptionally crafted sculptures throughout his career. New essays by Giampaolo Bianconi and Thea Liberty Nichols explore his nonconformist attitudes about masculinity and his intense response to the horrors of war—a recurring theme in Westermann’s sculpture following his return from service in the Korean War—as well as his experiments with wordplay, connection to conceptualism, and astonishing contributions to American art. An interview with artist Ed Ruscha, who knew and admired Westermann and his attention to craft, gives context to Westermann’s complex role as an unpretentious father figure to American conceptual and pop artists.

precedenti dizionari raccolte da N.Tommaseo, G.Campi, G.Meini, P.Fanfani. Corredato di un discorso preliminare di G.Meini. Presentazione di Gianfranco Folena. Milano, Rizzoli Ed. 1977, 20 volumi. cm.13x18,5, pp.ca.16.000, legature editoriali cartonate.

Seconda edizione. Prefaz.di Attilio Frescura. Bologna, Licinio Cappelli Editore 1927, un vol. di 2, cm. 12x18,5, pp.VIII,261,(3), brossura Coll.Opera Omnia a cura di Benito Mussolini, 25.