Archivio di Stato. La Spezia.

Firenze, Ediz.Polistampa 2009, cm.17x24, pp.128, ill.a col. brossura con copertina figurata a colori. Collana I Maestri della Luce in Toscana. Monografie d'Arte dell'800 e del '900, 12. Dalle sale dell’Accademia di Belle Arti di Pisa e quindi di Firenze, fino al Salon di Parigi del 1875 e del 1878, Francesco Gioli arricchisce l’originaria matrice purista con gli aneliti del naturalismo europeo e dell’impressionismo. Costantemente critico nei riguardidi qualsiasi novità tecnica l’artista segue un proprio personale e moderato percorso di aggiornamento stilistico che lo conduce sullo scorcio dell’Ottocento alle soglie del divisionismo e del simbolismo. Nel corso del Novecento, lungi dal ristagnare nell’orbita del macchiaiolismo, Gioli saprà farsi interprete di un rinnovato linguaggio di eleganza disegnativa e grazia cromatica, con cui affrontare le consuete tematiche della figura e del paesaggio, stavolta nell’ottica di una più vibrante poesia.

Firenze, Vallecchi Editore 1967, cm.14,5x22, pp.VII,(1),360,(8), 107 foto e facsimile in 80 tavv. in bn. ft., brossura, sopraccoperta fig. Prima edizione.

Musumeci Editore 1992, cm.14,5x20, pp.186, brossura con copertina figurata a colori. Collana La Salute NAturale.

The volume is rounded out by detailed commentaries by William M. Voelkle and K. Michelle Hearne on each section of the Book of Hours, and an analysis of the fascinating history of the manuscript (tradition holds that it was once in the collection of Henry VIII, hence its name today). In association with the Pierpont Morgan Library. George Braziller Publisher 2000, cm.21,5x28, pp.X,194, 66 ill.a colori, 35 ill.bn. brossura con copertina A product for the royal court of France, the "Hours of Henry VIII," created around 1500 by Jean Poyet, is one of the most splendid Books of Hours from this period. This magnificently illustrated lay book of daily devotions and prayers contains fifty-five exquisitely hand-painted images all reproduced here together and in color for the first time. The previously little-known Poyet (active ca. 1483-1503) enjoyed the patronage of the courts of three French kings. Not only an illuminator of manuscripts of the highest quality, Poyet also created panel paintings, elaborate drawings, and designed theatrical spectacles, all in a style that links Fouquet to Poussin. Author Roger S. Wieck provides a thorough explanation of the importance both of this grand manuscript within its art historical context and of Poyet's artistic achievements, which fluidly merged the cool, late Gothic aesthetic of his native northern France with the avant-garde Renaissance style of northern Italy. All known works by Poyet are discussed and illustrated.