Donatella Mei. Diafano. Museo Marino MArini, Novembre 2003.

A cura di Mauro Lombardo. Roma-Catania, Ediz.d'Arte La Vite 1993, cm.21x28,5, pp.nn.ca30, 159 tavv.bn.e col.ft. brossura cop.fig.a col.

Vol.I:1445-1484. Vol.II1485-1510. Milano, Rizzoli 1958, 2 volumi in cofanetto. cm.24x32, pp.circa 500 complessivamente, con centinaia di tavole bn. legature editoriali cartonate, sopracoperte figurate a colori. Biblioteca d'Arte Rizzoli,32/33. 34/35.

Princeton University Press 2025, cm.24x28, pp.272, illustrato a colori. legatura editoriale cartonata con sopraccoperta figurata a colori. A major reexamination of the life, art, and legacy of a self-taught American master Grandma Moses: A Good Day’s Work repositions Anna Mary Robertson “Grandma” Moses (1860–1961) as a multidimensional force in American art, whose beloved recollections of rural life earned her a distinctive place in the cultural imagination of the postwar era. Moses was eighty years old when Otto Kallir, a New York art dealer and recent émigré from Nazi-held Austria, introduced her to the world. “Grandma Moses,” as the press dubbed her, quickly became a polarizing figure, beloved by the public yet dismissed by the art world for her story-time scenes and lack of formal training. Drawing on Moses’s reflection on her own life as “a good day’s work,” the book charts

Testo di Pier Luigi Tazzi. Beatrix Wilhelm Verlag 1983, cm.16x23,5, pp. 98 illustrato colori. brossura con sopraccoperta figurata a colori.