728. 威廉·拉梅西。1627-1676?. Helmintologia[希腊语]。或者，对物质、起源和几种蠕虫的一些物理考虑。伦敦：约翰·斯特雷特为乔治·索布里奇印刷，1668年。 高清作品[45%]

Helminthologia [in Greek]. Or, some Physical Considerations of the Matter, Origination, and Several Species of Wormes. London: Printed by John Streater for George Sawbridge, 1668.

图片文件尺寸 : 4122 x 4109px

RAMESEY, WILLIAM. 1627-1676?. :Helminthologia [in Greek]. Or, some Physical Considerations of the Matter, Origination, and Several Species of Wormes. London: Printed by John Streater for George Sawbridge, 1668.
12mo (173 x 115 mm). Engraved frontispiece portrait and folding plate. [4], 9, [1], 364 [ i.e. 374], [4] pp., with publisher\'s ads and errata leaves at end. Modern crushed brown morocco, red morocco spine label; some creasing and soiling to frontispiece and title, occasional spotting and wear, C2 small paper repair on fore-margin, A1 ink marginal note, C3 loss to margin just touching text, in custom cloth slipcase and chemise.

FIRST EDITION of this curious work by the physician and astrologer William Ramesey in which he argues that many maladies have their cause in small vermin visible in the blood under microscope. ESTC R24073; Wing R205.

威廉·拉梅西。1627-1676?. Helmintologia[希腊语]。或者，对物质、起源和几种蠕虫的一些物理考虑。伦敦：约翰·斯特雷特为乔治·索布里奇印刷，1668年。

729. 卢西奥·丰塔纳，当代艺术I 高清作品[45%]

DO-Lucio Fontana - 现代艺术 I
图片文件像素：5704 x 5632 px

卢西奥·丰塔纳，当代艺术I-

Lucio Fontana * - Zeitgenössische Kunst I-

(Rosario di Santa Fe, Argentina 1899–1968 Comabbio)
Concetto Spaziale, 1965, signed; signed and titled on the reverse, oil, tearing and scratching on canvas, pink, 92 x 73 cm, framed

This work is registered in the Fondazione Lucio Fontana, Milan and is accompanied by a photo certificate of authenticity

Provenance:
Galleria Arte Borgogna, Milan
European Private Collection

Literature:
E. Crispolti, Lucio Fontana: Catalogue Raisonné des Peintures, Sculptures et Environnements Spatiaux, vol. II, Brussels 1974, pp. 142, 143 with ill.
E. Crispolti, Lucio Fontana: Catalogo Generale, vol. II, Milan 1986, p. 487 with full-page ill., p. 488 no. 65 O 2 with ill.
E. Crispolti, Catalogo ragionato di sculture, dipinti e ambientazioni, vol. II, Milan 2006, p. 680, no. 65 O 2 with ill.

Lucio Fontana\'s first perforated canvases were created in 1949, and a decade later the artist began to work on his famous cuts through the canvas. Holes and cuts, buchi and tagli, became variations on Fontana\'s fundamental concept. The \"Olii\", on which Fontana worked intensively from the early 1960s, are also dominated by deep punctures and scratches.

With the radical gesture of piercing, the flat surface of the image is broken. The light falls through the openings, creating a new spatiality and depth. In this way, Fontana crosses a boundary that opens a new dimension and thus a new freedom for art - a revolutionary path in art history.

Accordingly, Fontana names his works \"Concetti Spaziali\" - spatial concepts: \"A hole is the beginning of a sculpture in space. My works are not pictures, but art concepts.\" Fontana allows the art genres - architecture, painting, sculpture - to merge into one another. In his Concetti Spaziali, real and imagined space combine; the view into the hole challenges the viewer\'s imagination. At the same time, the material character of the canvas or object is made tangible by piercing and cutting through it.

Fontana\'s \"Olii\" of the 1960s, as well as his metal works which were created during the same period, bear witness to the artist\'s sensual relationship to the material. He was fascinated by the texture of the malleable, slightly plastic oil paint, which is particularly well-suited to making visible gestures of scoring, piercing, or cutting. Fontana plays with the possibilities of handling canvas, paint, metal, glass or even light: the artistic gesture develops on the material and brings its potential to life.

\"The hole is my invention, that is all there is to it.
After this invention, I can die.\"
Lucio Fontana

相关：
梵高人生天才or疯子 救名画or救猫 aleksander orłowski 9451177_bird_cherry_cerasus_padus_or_prunus_padus 埃贡席勒or克里姆特
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728. 威廉·拉梅西。1627-1676?. Helmintologia[希腊语]。或者，对物质、起源和几种蠕虫的一些物理考虑。伦敦：约翰·斯特雷特为乔治·索布里奇印刷，1668年。 高清作品[45%]

Helminthologia [in Greek]. Or, some Physical Considerations of the Matter, Origination, and Several Species of Wormes. London: Printed by John Streater for George Sawbridge, 1668.

图片文件尺寸 : 4122 x 4109px

RAMESEY, WILLIAM. 1627-1676?. :Helminthologia [in Greek]. Or, some Physical Considerations of the Matter, Origination, and Several Species of Wormes. London: Printed by John Streater for George Sawbridge, 1668.
12mo (173 x 115 mm). Engraved frontispiece portrait and folding plate. [4], 9, [1], 364 [ i.e. 374], [4] pp., with publisher\'s ads and errata leaves at end. Modern crushed brown morocco, red morocco spine label; some creasing and soiling to frontispiece and title, occasional spotting and wear, C2 small paper repair on fore-margin, A1 ink marginal note, C3 loss to margin just touching text, in custom cloth slipcase and chemise.

FIRST EDITION of this curious work by the physician and astrologer William Ramesey in which he argues that many maladies have their cause in small vermin visible in the blood under microscope. ESTC R24073; Wing R205.

威廉·拉梅西。1627-1676?. Helmintologia[希腊语]。或者，对物质、起源和几种蠕虫的一些物理考虑。伦敦：约翰·斯特雷特为乔治·索布里奇印刷，1668年。

729. 卢西奥·丰塔纳，当代艺术I 高清作品[45%]

DO-Lucio Fontana - 现代艺术 I
图片文件像素：5704 x 5632 px

卢西奥·丰塔纳，当代艺术I-

Lucio Fontana * - Zeitgenössische Kunst I-

(Rosario di Santa Fe, Argentina 1899–1968 Comabbio)
Concetto Spaziale, 1965, signed; signed and titled on the reverse, oil, tearing and scratching on canvas, pink, 92 x 73 cm, framed

This work is registered in the Fondazione Lucio Fontana, Milan and is accompanied by a photo certificate of authenticity

Provenance:
Galleria Arte Borgogna, Milan
European Private Collection

Literature:
E. Crispolti, Lucio Fontana: Catalogue Raisonné des Peintures, Sculptures et Environnements Spatiaux, vol. II, Brussels 1974, pp. 142, 143 with ill.
E. Crispolti, Lucio Fontana: Catalogo Generale, vol. II, Milan 1986, p. 487 with full-page ill., p. 488 no. 65 O 2 with ill.
E. Crispolti, Catalogo ragionato di sculture, dipinti e ambientazioni, vol. II, Milan 2006, p. 680, no. 65 O 2 with ill.

Lucio Fontana\'s first perforated canvases were created in 1949, and a decade later the artist began to work on his famous cuts through the canvas. Holes and cuts, buchi and tagli, became variations on Fontana\'s fundamental concept. The \"Olii\", on which Fontana worked intensively from the early 1960s, are also dominated by deep punctures and scratches.

With the radical gesture of piercing, the flat surface of the image is broken. The light falls through the openings, creating a new spatiality and depth. In this way, Fontana crosses a boundary that opens a new dimension and thus a new freedom for art - a revolutionary path in art history.

Accordingly, Fontana names his works \"Concetti Spaziali\" - spatial concepts: \"A hole is the beginning of a sculpture in space. My works are not pictures, but art concepts.\" Fontana allows the art genres - architecture, painting, sculpture - to merge into one another. In his Concetti Spaziali, real and imagined space combine; the view into the hole challenges the viewer\'s imagination. At the same time, the material character of the canvas or object is made tangible by piercing and cutting through it.

Fontana\'s \"Olii\" of the 1960s, as well as his metal works which were created during the same period, bear witness to the artist\'s sensual relationship to the material. He was fascinated by the texture of the malleable, slightly plastic oil paint, which is particularly well-suited to making visible gestures of scoring, piercing, or cutting. Fontana plays with the possibilities of handling canvas, paint, metal, glass or even light: the artistic gesture develops on the material and brings its potential to life.

\"The hole is my invention, that is all there is to it.
After this invention, I can die.\"
Lucio Fontana

相关：
梵高人生天才or疯子 救名画or救猫 aleksander orłowski 9451177_bird_cherry_cerasus_padus_or_prunus_padus 埃贡席勒or克里姆特
首页 主题 艺术运动 风景