Ugo di Toscana.

Firenze, Giunti Barbera Ed.per Cassa di Risparmio 1982, cm.22x27, pp.292, num.ill.bn.e col.anche a p.pag. legatura editoriale cartonata sopracoperta figurata a colori.

A cura di Laura De Angelis, Sergio Raveggi, Cecilia Piovanelli, Paolo Pirillo, Franek Sznura. Firenze, Vallecchi Editore 1993, cm.21x29,5, pp.287, 152 ill.a col.nt., brossura, cop.muta, sovraccop.fig.a col.

Firenze, Centro d'Incontro della Certosa 1982, cm.17,5x25, pp.54, num.figg.bn.e col.nt. brossura

Firenze, Becocci editore 1982, cm.15x24, pp.48, num.ill.bn.e col.nt. brossura copertina figurata a colori. Coll.Bibl.de "Lo Studiolo".

Rome,25-28 octobre 1982. Introduction par Jean-Yves Tilliette. Roma, Ecole Française de Rome, Palais Farnèse 1985, cm.17x24, pp.427, brossura, cop.fig.a col.con bandelle. Allo stato di nuovo. Collection de l'Ecole Française de Rome,80.

Traduz.di Gualtiero Stefanon. Ill.di Alberto Beltran. Roma, Newton e Compton Ed. 1977, cm.12x19, pp.219, 55 figg.bn.nt. e 23 ft. brossura cop.fig.a col. Coll.Paperbacks Civiltà Scomparse,6.

Traduz. di Giorgio Andreon. Bologna, C.E.L.I. 1968, solo volume secondo, cm.22x30, pp.991, legatura editoriale cartonata,

Milano, Skira 2013, cm.21x30, pp.568, 500 illustrazioni a colori. brossura legatura cartonata copertina figurata. Collana Cataloghi. Published on the occasion of his major anthology at the Fondazione Giorgio Cini in Venice, this catalogue gathers a number of works by the renowned British artist. "A journey from the origins of life" that, according to the artist, through very powerful works celebrates "the awe and wonder of the world in which we live." Marc Quinn began his career exploring issues such as the relation between art and science, the human body and its survival mechanisms, life and its preservation, beauty and death. Through an essay-interview of the artist with Germano Celant, the volume offers in-depth insight into Quinn's conceptual practice that incorporates sculpture, painting and installations. The artist's preoccupation with the metamorphic ability of both human life and nature points to his fascination with our innate spirituality. Quinn questions the codes of nature through his adoption of uncompromising materials such as ice, blood, marble, glass, and lead. Through the use of such materials, his works are at once poetic and confrontational through their exploration of life, death, sexuality, and religion. Quinn transforms the very act of seeing by forcing viewers to question what is around them, pushing them into the unknown in order to rediscover life.