Babar. L'opera e l'arte di Jean e Laurent de Brunhoff.

Milano, Garzanti Editore 1989, cm.22x30, pp.192, numerose figure a colori nel testo, legatura editoriale in tutta tela, sopraccoperta figurata a colori.

Paris, Flammarion Ed. 2005, cm.24x31, pp.207, 163 figg.bn.nt. brossura cop.fig. Brassaé, born in Hungary as Gyula Halasz in 1894, began his artistic apprenticeship in Berlin before moving to Paris and launching a career that would establish him as a key figure in the evolution of photography. Brassaé's importance as a photo-grapher was recognized early in his career, affording him a privileged position from which to witness the varied aspects and milieus of Parisian life during the 1920s and 1930s. During and just after the war, Brassaé collaborated with other artists and writers, and displayed his own artistic proficiency in multiple domains including theater, cinema, sculpture, drawing, and writing. The late 1940s marked the beginning of a new period in Brassaé's life, during which he married and became a naturalized French citizen. In the 1950s and early 1960s, he traveled extensively and executed his original graffiti compositions that would acquire international fame. Toward the end of his life, the artist returned to reading and writing.Brassaé, who remained at the cutting edge of avant-garde, refused to espouse a single style; his rich body of work exceeds definition. This illustrated biography is based largely on unpublished documents and photographs from the artist's personal archives. The author shares stories told to her by Brassaé's wife Gilberte and by several of the artist's friends, including Henry Miller, Miré, Henri Michaux, and Raymond Queneau. Filtering a rich variety of sources, Brassaé offers a detailed and multifaceted view of the artist's life and of the bonds that link him and his legendary images to Paris.

Firenze, Sismel Edizioni del Galluzzo 2012, cm.14x21, pp. XVI,541, 65 tavv. ft. brossura copertina figurata a colori. Coll. Micrologus Library, 20. A. PARAVICINI BAGLIANI, Introduction. M. PASTOUREAU, Les cornes, les poils, les oreilles et la queue. Se déguiser en animal dans l'Occident médiéval - P.-O. DITTMAR, Les corps sans fins. Extensions animales et végétales dans les marges de la représentation (XIIIe-XIVe siècle) - D. BOHLER, Morphologies humaines au chaos: poils, cornes et appendices dans la litterature narrative et normative du Moyen Âge - C. BOLOGNA, Bernoccoli e altre protuberanze spirituali - F. SANTI, Mantelli, penne e astuti piumati. Coprire le protuberanze ed esibirle nella storia del potere (sec. XII-XVI) - F. SIVO, Corpus infame - C. F. CLAMOTE CARRETO, Anatomie de la différence. Le corps déréglé et les outrances de l'écriture épique (XIIe-XIIIe siècles) - D. ALEXANDRE-BIDON, Enflures et boursouflures. L'obésité au Moyen Âge - P. SAVY, Les attributs chimériques de peuples réels. Queue des Anglais et queue des Juifs au Moyen Âge et à l'époque moderne - I. SABBATINI, Finis corporis initium animae. La qualità morale del nemico nella rappresentazione del corpo tra epica crociata e odeporica di pellegrinaggio - P. SILANOS, The Depositio of Beanus. Horns, Teeth and other Bulges in an Initiation Ceremony in German area (XV Century) - L. CANETTI, «Facendosi fare di cera». Un'euristica dell'eccedenza e della somiglianza tra Medioevo ed Età moderna - B. FRICKE, Tracce di sangue e 'finis corporis'. Sulla genesi della vita nel Quattrocento. Riflessioni sull'Uomo di dolori di Albrecht Dürer - O. NICCOLI, Capi e corpi mostruosi. Una immagine della crisi del potere agli inizi dell'età moderna - B. SCHWARZ, Hæc non sunt bona presagia. I mostri nei fogli volanti della Wickiana - J. WIRTH, L'iconographie médiévale du pied - T. GOLSENNE, Les miracles de la peau. Figures de l'Incarnation dans les arts visuels (XIVe-XVIe siècles) - V. I. STOICHITA, "La seconde peau". Quelques considérations sur le symbolisme des armures au XVIe siècle - D. H. BODART, Il mento 'posticcio' dell'imperatore Carlo V - D.- A. BOARIU, De quelques décapités récalcitrants. Indici.

Decoupage integral. Paris, Seuil / Avant Scene 1971, cm.12x18, pp.144, ill.bn. brossura copertina figurata. Coll.Points. Films.