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Marcantonio Raimondi
Che Si Conoscono Al Suo Già Detto Segno Vasari's Connoisseurship In
What Differentiates Renaissance Copies, Fakes and Reproductions?
Presents the Chiaroscuro Woodcut in Renaissance Italy, the First Major Exhibition on the Subject in the United States
Marcantonio He Mastery of Form and the Absolute
Chastening Pictures: Donne and Aretino
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE IL PARMIGIANINO: the ROMAN YEARS a Thesis Submitted in Partial Satisfaction of the Requi
From Artist to Audience: Italian Drawings and Prints from the 15Th Through 18Th Centuries C
On the Copyright Hermeneutics of the Original
Marcantonio Raimondi and Raphael Exhibition Guide
Rembrandt's Durer
The Loves, Rages and Jealousies of Juno: A
MEDIA CONTACTS: Carlotta Stankiewicz,
[email protected]
Penny Snyder,
[email protected]
Production and Analysis of Ugo Da Carpi's David Slaying Goliath
The Chiaroscuro Woodcut in Renaissance Italy October 14, 2018 - January 20, 2019
The Triumph of Perfection Raphael Sixteenth-Century Italian Drawings and Prints from the Museum of Fine Arts, Budapest
Leo Steinberg
Review of Marcantonio Raimondi, Raphael and the Image Multiplied
Printmaking in Early Modern Europe
Top View
Marcantonio Raimondi's Early Engravings: Myth and Imitation in Renaissance Bologna
Raimondi AW V2.Indd
Masterpiece Minute Episode 44 PDF
Engraving, Antique Sculpture, and the Topos of Death
Old Master Prints
Ugo Da Carpi's Diogenes
Giovanni Battista Palumba's Mythological Progeny
Terrible Crimes and Wicked Pleasures: Witches in the Art of the Sixteenth and Seventeenth Centuries