Commentari. Anno II, n. 1, 2, 3-4 (3 voll.) - Rivista di critica e storia dell'arte

Jorrit Tornquist
Ikon editrice

Washizuka Hiromitsu, Park Youngbook, Kang Woo-Bang
Japan Society

Tania Velmans, Adriano Alpago Novello
Jaca Book

Elka Bakalova, Gaetano Passarelli, Sreten Petković
Editoriale Jaca Book

Nella mentalità comune l'icona è sinonimo di Russia; per un pubblico più esperto che frequenta le grandi mostre in Europa e negli Stati Uniti, icona richiama Bisanzio e il mondo ortodosso in generale. Ma se noi pensiamo agli studiosi e agli specialisti della Storia dell'Arte europea e occidentale, la conoscenza dell'icona e dei suoi significati resta molto contenuta ad eccezione di quei pochi che si interessano anche all'arte bizantina. Grabar, Weissmann e Kitzinger hanno un numero ristretto di eredi, lo iato tra la storia dell'arte occidentale e quella bizantina resta profondo. Tuttavia oggi è necessaria l'esigenza di trovare un collegamento a partire dalle origini comuni tardo antiche dell'arte bizantina e occidentale. Il famoso studioso russo Lazarev ci ha lasciato un'opera esemplare sulle icone russe, in modo da poterci orientare nel tempo e nella continuità del fenomeno icona della Russia di Kiev alla Russia di Mosca.

Enrico Castelnuovo, Giuseppe Sergi
G. Einaudi

Rosalind Polly Blakesley
Yale University Press

The Russian Canvas charts the remarkable rise of Russian painting in the 18th and 19th centuries, and the nature of its relationship with other European schools. Starting with the foundation of the Imperial Academy of the Arts in 1757 and culminating with the assassination of Tsar Alexander II in 1881, it details the professionalization and wide-ranging activities of painters against a backdrop of dramatic social and political change. The Imperial Academy formalized artistic training but later became a foil for dissent, as successive generations of painters negotiated their own positions between pan-European engagement and local and national identities. Drawing on original archival research, this groundbreaking book recontextualizes the work of major artists, revives the reputations of others, and explores the complex developments that took Russian painters from provincial anonymity to international acclaim.

Anthony Cutler, John W. Nesbitt
UTET

Sandra Berresford
Pacini editore

René Gilles
Edizioni Arkeios

Christoph Baumer
I.B.Tauris & Co.

Between the ninth and the fifteenth centuries, Central Asia was a major political, economic and cultural hub on the Eurasian continent. In the first half of the thirteenth century it was also the pre-eminent centre of power in the largest land-based empire the world has ever seen. This third volume of Christoph Baumer's extensively praised and lavishly illustrated new history of the region is above all a story of invasion, when tumultuous and often brutal conquest profoundly shaped the later history of the globe. The author explores the rise of Islam and the remarkable victories of the Arab armies which - inspired by their vital, austere and egalitarian desert faith - established important new dynasties like the Seljuks, Karakhanids and Ghaznavids. A golden age of artistic, literary and scientific innovation came to a sudden end when, between 1219 and 1260, Genghiz Khan and his successors overran the Chorasmian-Abbasid lands. Dr Baumer shows that the Mongol conquests, while shattering to their enemies, nevertheless resulted in much greater mercantile and cultural contact between Central Asia and Western Europe.

Ernst H. Gombrich
Giuglio Einaudi editore

Jurgis Baltrusaitis
Adelphi Edizioni