Primavera nordica. Il vento del cambiamento scientifico in Scandinavia.

Novi Ligure, Ed.del Centro Studi In Novitate 2004, cm.17x24, pp.86, br.cop.fig.

Gavi, Traverso Ed. 2001, cm.16x23, pp.160, br.cop.fig.a col.

Capitoli di storia della cultura massonica e scentifica. Sono queste le "Storie dell'Arte Reale"contenute nel libro di Davide Arecco. L'Autore si concentra, in particolare, sull'età dei lumi, vista qui come fenomeno storico di lunga durata. Tra XVII e XVIII secolo, gli spazi dell'iniziazione esoterica incrociarono la vita intellettuale europea più volte. Dall'Inghilterra all'Olanda, dalla Francia all'Italia, i Liberi Muratori e gli uomini della "Rivoluzione scientifica" condivisero esperienze e utopie, ansie di rinnovamento e momenti di crisi. Un'eredità storica che oggi è anche patrimonio della storiografia. Reggello, FirenzeLibri Ed. 2006, cm.13x20, pp.160, br. Coll.La Bautta, Coll.Massonica.

Princeton, Princeton University Press 1997, cm19x25 pp.174, brossura, copertina figurata a colori. Widely acknowledged as a prime manifestation of Florentine humanist culture under Lorenzo de' Medici, Botticelli's Primavera cannot be fully interpreted without considering the poetics that expressed the Laurentian cultural program and, in turn, the Renaissance itself. In this analysis Charles Dempsey examines the poetry written by Lorenzo and his literary clients in order to give definition to the cultural context in which the Primavera was created. A celebration of Love, the painting is shown to incorporate both public and private imaginative realms while embracing the ideal and the actual experiences of the present. The Primavera, depicting Venus as the spirit of Love and springtime, is simultaneously old-fashioned and modern, rooted in International-Style vernacular conventions and evincing a nascent classical vocabulary. After describing the profoundly humanist classical foundation to the invention of the Primavera, Dempsey identifies its genre with rustic song, then relates the painting to the conventions of vernacular love poetry. A close reading of the painting in relation to works by Lorenzo, Politian, Pulci, and other poets working to elevate vernacular expression by infusing native Tuscan with Latin forms suggests how the idea of Love portrayed by Botticelli in the figure of Venus incorporates not only the ancient springtime renovatio mundi but also the actual cultural renovation - the Renaissance - imagined and sponsored by Lorenzo the Magnificent.