| Record ID | harvard_bibliographic_metadata/ab.bib.12.20150123.full.mrc:547594756:1706 |
| Source | harvard_bibliographic_metadata |
| Download Link | /show-records/harvard_bibliographic_metadata/ab.bib.12.20150123.full.mrc:547594756:1706?format=raw |
LEADER: 01706cam a2200313Ma 4500
001 012679557-6
005 20110223132014.0
008 101004s2010 it a bc 001 0 ita d
020 $a9788879704755
020 $a8879704753
035 0 $aocn701463525
035 0 $aocn669124514
040 $aERASA$beng$cERASA$dOCLCQ$dC3L
050 4 $aND623.C663$bB47 2010
082 04 $a709.945
100 1 $aBerti, Federico.
245 10 $aFrancesco Conti /$cFederico Berti ; fotografie di Paolo Bacherini.
260 $aFirenze :$bEdifir,$c2010.
300 $a381 p. :$bill. (some col.) ;$c29 cm.
520 8 $aFrancesco Conti developed artistically in Florence in the sphere of Simone Pignoni, and later moved to Rome, where he studied under Giovanni Maria Morandi and Carlo Maratta until the year 1700. His entire artistic career was characterised by the constant presence of the Marquises Riccardi, who supported him all his life as well as paying him a salary. They commissioned his first known works: three canvases representing fame, faith and peace, which he carried out in around 1709 for their country house or Casino of Gualfonda. These were the only profane paintings the artist ever produced (with the exclusion of some portraits); his real mètier was in fact religious painting, a sector that he dominated in Florence for about fifty years.
504 $aIncludes bibliographical references (p. 361-375) and index.
600 10 $aConti, Francesco,$d1682-1760$xCriticsm and interpretation.
600 10 $aConti, Francesco,$d1682-1760$vCatalogs.
700 1 $aConti, Francesco,$d1682-1760.
700 1 $aBacherini, Paolo.
899 $a415_565195
988 $a20110208
049 $aHFLA
906 $0OCLC