Nonell.

Sesto Fiorentino, Villa Corsi Salviati,24 ottobre- 22 novembre 1981. A cura di Maria Pia Mannini. Firenze, Electa Ed. 1981, cm.22x24, pp.127, 66 illustrazioni bn.e alcune tavole a colori a piena pagina, brossura con copertina figurata a colori.

Centro di Cultura di Palazzo Grassi,Venezia. Firenze, Sansoni Ed. 1981, cm.21x25, pp.409, 332 illustrazioni bn.e a colori anche a piena pagina, brossura, sopraccoperta figurata a colori.

Firenze, Biblioteca Medica Laurenziana, 4/2-15/04/1984. Prefazione di Giulio Carlo Argan. Firenze, Centro Di Ed. 1984, cm.22x24, pp.214, numerose illustrazioni bn.e a colori nel testo molte a p.pagina, brossura con copertina figurata a colori.

Firenze,Palazzo Strozzi,28/4-30/6/1979. A cura del Comune e della Provincia. Firenze, Vallecchi 1979, cm.22x24, pp.77, 24 tavv.a col.a p.pag. 306 ill.bn.molte a p brossura con copertina figurata a colori.

Heidelberg, Carl Winter's Universitatsbuchhandlung 1909, cm.13,5X21, pp.XIX,516, brossura, sopraccoperta trasparente. Collana Indogermanische Bibliotek,I. Reihe, Fünfter Band.

Edited by Amy Smith-Stewart , Levi Prombaum. Foreword by Cybele Maylone and Jacqueline Terrassa , Martha Diamond. The Aldrich Contemporary Art MuseumRidgefield. Colby College Museum of Art, Waterville. New York, DelMonico Books 2024, cm.23x27,5, pp.190 illustrazioni a colori, legatura editoriale cartonata copertina a colori. Martha Diamond (1944–2023) was among the most perceptive painters of the last five decades. Her work’s formal concision and painterly bravado reflect an inner dialogue with generations of abstract artists, while her singular vision spotlighted her architectural and compositional fascinations. Comprising paintings, monotypes and other works on paper, this focused survey of Diamond’s career proposes “deep time” as a new way of understanding her contribution to American painting. It emphasizes her unswerving commitment to capturing the emotional character of built space, tracking throughlines across mediums and methods to reveal a process that combines spirited experimentation with perceptive observation. Deep Time features rarely seen pieces: from the little-known “single-picture” images of the 1970s and the vertiginous paintings of her native New York City during the 1980s, ’90s and ’00s to the vivid abstractions that increasingly characterized her later work.