Ricerche su Apollonio Rodio, diacronie della dizione epica.

Introduz.di Bruno Gentili. Milano, Garzanti Ed. 1989, cm.12x19, pp.XII,471, brossura Coll.Strumenti Studio. Guide Bibliografiche.

Padova, Ed.Antenore 1975, cm.15x22, pp.296, brossura a fogli chiusi. Coll.Miscellanea Erudita,XXVIII.

Torino, Ist.Bancario San Paolo 1969, cm.19x26, pp.150, num.figg.bn.e tavv.a col.nt. legatura ed.cop.fig.a col.

Milano, Bompiani Ed. 1985, cm.15,5x24,5, pp.253, num.ill.bn.nt. legatura editoriale con sopracoperta figurata a colori.

Catalogo della mostra tenutasi a Prato presso il Centro per l'Arte Contemporanea Luigi Pecci. Il primo volume è il catalogo delle opere pittoriche esposte mentre il secondo è il famoso Atlas nell'edizione München/Köln Lenbachhaus/Oktagon Verlag. 1997, 2 Volumi cm.28x35, pp. 197 e 387 in cofanetto rigido illustrato legature editoriali in tutta tela. Testi in Italiano e Inglese. First edition. The original publication Richter’s Atlas accompanied the first exhibition of what has become perhaps his single most significant artwork, the evolving, ever-expanding compendium of imagery that Richter began to amass in 1964 by collecting photos printed in newspapers, magazines and commonplace sources. Richter’s process gained momentum as he added new categories of material, including his own photos and drawings, as well as postcards, anonymous snapshots, landscape images, historical likenesses, pornography, architectural renderings, technical drawings and much else, all in an effort to encompass the vast array of visual data that has become increasingly ubiquitous. These images, affixed to a few hundred panels and arranged on the wall in grids, comprised the first exhibition of Atlas and this artist’s book--which consists of page after page of visual information without any text, even page numbers, to guide the viewer--was its first published form. Atlas has been exhibited on numerous occasions throughout the world and new publications have also followed, but even as the number of panels and images has expanded tenfold, both the form of the installation and of the book has remained essentially that which was set forth her by Richter in 1972. Richter has stated on several occasions that Atlas is governed by no overriding logic or polemical position. It is not an image bank, an archive, or a system of typologies. It is, as the name implies, a cartographic effort. Yet it is a mapping project that remains necessarily unfinished. For Richter, this incompleteness is key; as he sees it, the central dilemma confronting the contemporary artist is the Sisyphean inevitability with which any aesthetic vision will ultimately fail to transform a world that is increasingly defined by the massive proliferation of visual imagery. Thus Atlas is both the visual and the existential context that frames Richter’s artistic output and, as such, it is one of the truly crucial documents of contemporary art.

Traduzione di Franca Doriguzzi. Roma, Edizioni E/O 2005, cm.14x21,5, pp.210, brossura copertina figurata a colori. Coll.Rose Nere. Tre barbone barbaramente uccise. Nessun indizio se non un semplice biglietto con su scritto un nome di donna, Dorothée. A Dodo basta quel nome per capire di essere lei il vero bersaglio dell'assassino, perché Dorothée era la donna giovane e ricca che lei è stata prima di scegliere una vita marginale. La ricerca del colpevole si accompagna quindi alla scoperta del passato della protagonista che lei racconta con dolente trasporto ai suoi compagni di strada. E nel fiume in piena dei ricordi emergono i traumi di una vita, l'amore per due uomini, Paul calcolatore e violento, Bruno sensibile e sfuggente. La narrazione procede veloce verso il colpo di scena finale.