We Want the Light. Pinchas Zuckerman, Daniel Barenboim, Zubin Mehta and others. Vladimir Ashkenazy - conductor The Gurzenich Orchestra of Cologne The Cologne Opera Chorus The Cologne Cathedral Children's Choir.

Formato: DolbyDigital2.0Stereo Opus Arte/BBC 2005, 1 DVD. Durata: 97min. Supporto: DVD. Region: Tutto il mondo. Index: 1. A Simple Man [3:29] 2. Holst - The Planets [4:56] 3. Chopin Piano Music [2:57] 4. The Turn of the Screw [5:07] 5. The Miserly Knight [4:05] 6. Gianni Schicchi [3:29] 7. Parsifal [5:38] 8. Monteverdi - L'Incoronazione Di Poppea [4:54] 9. Der Ring Des Nibelungen - Die Walküre [4:52] 10. Schubert - The Trout Quintet [3:34] 11. Andrés Segovia [3:55] 12. Elgar's Engima Variations [4:30] 13. Madama Butterfly [4:38] 14. We Want the Light [5:15] 15. Tristan & Isolde [6:58] 16. Amelia [6:04] 17. Haydn String Quartets - The Lindsays [3:33] 18. MacBeth [5:11] 19. Handel's Water Music [4:05] 20. Don Carlo [4:29] 21. Les Indes Galantes [5:30]

Phtographs by Sally Mann. Harry N Abrams 2016, cm.23,5x29, pp.112, ill. legtaura editoriale cartonata, copertina figurata. The artists Cy Twombly and Sally Mann may at first seem an unlikely pairing. He was a leading contemporary artist who defied easy categorization, a painter and sculptor whose enigmatic work often referenced mythology and epic poetry. She is a photographer with an uncanny ability to tap raw human emotion, whether depicting members of her family or the landscape of the American South. What they had in common was place'both grew up in rural Lexington, Virginia, where Twombly kept a studio and produced some of his most important work until his death in 2011, and where Mann has lived and worked all her life. Over the course of several years, Mann photographed inside Twombly's studio: the paint splatters on the floor and walls, the works in progress, the sculptures as they caught the raking rays of light passing through Venetian blinds, the progression from order to chaos that so often characterizes an artist's working place. The result is a rare insider's view of Twombly's process'we sense him in the room at every turn, although he is always just beyond the frame'and a poetic dialogue between two artistic visions.

The author's reminiscences of 50 years in London and in the Theatre. Cassell and Company 1938, cm.14x21, pp. 244, 4 photo illustrated hardcover, clothbound. First published.

With contributions from Robin Clark, Michael Govan, Alexis Lowry and David Reed. New York, Whitney Museum of Art 2018, cm.26x29, pp.158 ill.a colori. legatura editoriale cartonata, sopracoperta figurata a colori. Initially trained as an abstract painter, Mary Corse (b. 1945) emerged in the mid-1960s as one of the few women associated with the California Light and Space movement. This catalogue is the first comprehensive examination of this singular artist's work, and features new scholarship and object studies that underscore how Corse’s groundbreaking approach to light, perception, and subjectivity forged a new language of painting. Over more than five decades, Corse has maintained a commitment to abstraction and belief in modernist painting even as she charted her own course through her studies in quantum physics and investigations into a range of unconventional materials, from Tesla coils and neon to glass microbeads and glitter. Kim Conaty’s essay investigates how the artist’s early experiments with light—creating “paintings” made of fluorescent or neon—made way for her subsequent explorations into how light might be integrated into the surface of her canvases through the interplay of reflection and refraction. Corse’s exquisite paintings activate the viewer in the creation of the perceptual experience: the kinetic effect of the work is contingent upon the movement of the body through space. As Corse has explained: “Art is not on the wall, it’s in your perception.”