Altro: dalla pittura: una totalita diversa.

Diretti da Giorgio Padoan. Ravenna, Longo Editore 2005, cm.15x21, pp.142, brossura Giulietta Bazoli, Groto e Shakespeare: un confronto possibile? Marta Vanore, Per l'edizione critica de "La Marfisa Bizzarra" di Carlo Gozzi. Tiziana Agostini, Prima del dramma: il teatro di Amelia Rosselli (1897-1924). Cristina Fiore, Influenze e suggestioni cinematografiche nel primo Parise. Luigi Metropoli, Il nulla maiestatico e i "senhal".

Parma, Artetipografica Silva 1986, cm.17x24, pp.circa 80 con numerose figg.a col.nt. legatura ed.in tutta tela,tavola a colori applicata alla copertina.

Traduz.e introduz.di Gicomo Debenedetti. Milano, Arnoldo Mondadori Ed. 1951, cm.11,5x18, pp.569, legatura ed.cartonata. Coll.BMM,142-146.

Collections and Historical Reception Proceedings of the International Conference (London, 25-27 May 2016). Edited by Juliana Barone and Susanna Avery-Quash. Firenze, Olschki Ed. 2019, cm 17 x 24, xlvi-456 pp. con 56 tavv. f.t. a colori, brossura Biblioteca Leonardiana. Studi e Documenti,7. The study of the legacy of Leonardo da Vinci in Britain has remained largely overshadowed by that of other Italian Renaissance artists. What was actually known of Leonardo’s work? Were particular aspects of his legacy favoured? This volume investigates how Leonardo’s artistic, theoretical and scientific work has been received in Britain from the seventeenth century onwards. It offers new information concerning the provenance of certain key works and considers their significance for the formation of important British private and public collections. It also addresses the crucial issue of what was considered to be an original work by Leonardo, encompassing related discussions on the roles of versions and copies. In addition, it investigates the shaping of early academic discourse and the appearance of the first English editions of the ‘Treatise on Painting’, as well as considering the publication of English anthologies of his writings and methodological approaches to Leonardo studies. At the same that this volume focuses on the historical reception of Leonardo and his followers’ works in Britain, it makes a wider contribution to studies concerning cultural and intellectual exchanges between Italy and Britain.