Mottetti concertati a 2, 3, 4, 5 e 6 voci (1610).

by J. Joyce. Firenze, Olschki Ed. 1989, cm.24 x33,5, vol. I: lvi-28 pp. con 22 tavv. nt. vol II: ii-334 pp., Coll. Musiche rinascimentali siciliane, 9.

A cura di Concetta Assenza. Firenze, Olschki 2007, cm.17x24, pp.XIV,224, brossura Coll.Musiche Rinascimentali Siciliane,25.

A cura di G. Watkins. Firenze, Olschki Ed. 1980, cm.24x33,5, xlvi-63 pp. con 4 tavv. f.t., Coll. Musiche rinascimentali siciliane, 10.

A cura di G. Watkins. Firenze, Olschki Ed. 1995, cm.24x33,5, xxxiv-114 pp. con 14 tavv. n.t., Coll. Musiche rinascimentali siciliane, 15.

A cura di A. Ingegno. Firenze, Olschki Ed. 1999, cm.15x21, xl-184 pp., Coll. Immagini della Ragione, 2. Le «Conversazioni cristiane» ereditano e sviluppano i problemi filosofici e teologici espressi nella «Recherche de la vérité». L’imperfezione radicale della creazione, dipesa dal peccato originale, porta l’autore a porre al di fuori dalla creazione stessa The «Christian Conversations» inherit and develope the philosophical and theological problems evident in the «Recherche de la vérité». The radical imperfection of the Creation due to the original sin inclines the author to set beyond the Creation itself i

A cura di Elena Pontiggia. Milano, Abscondita Ed. 2007, cm.13x22, pp.123, num.figg.bn.nt.e ft. brossura con bandelle, copertina figurata a colori. Coll.Carte d'Artisti,86.

Arranged by Bob Phillips. Correlates with "String Explorer", Book 1, Unit 12. Grade Level: 1. Van Nuys, Alfred Publishing Co. 2002, cm.23x30,5, pp.8, fasc. Coll.String Explorer,20570.

With contributions from Robin Clark, Michael Govan, Alexis Lowry and David Reed. New York, Whitney Museum of Art 2018, cm.26x29, pp.158 ill.a colori. legatura editoriale cartonata, sopracoperta figurata a colori. Initially trained as an abstract painter, Mary Corse (b. 1945) emerged in the mid-1960s as one of the few women associated with the California Light and Space movement. This catalogue is the first comprehensive examination of this singular artist's work, and features new scholarship and object studies that underscore how Corse’s groundbreaking approach to light, perception, and subjectivity forged a new language of painting. Over more than five decades, Corse has maintained a commitment to abstraction and belief in modernist painting even as she charted her own course through her studies in quantum physics and investigations into a range of unconventional materials, from Tesla coils and neon to glass microbeads and glitter. Kim Conaty’s essay investigates how the artist’s early experiments with light—creating “paintings” made of fluorescent or neon—made way for her subsequent explorations into how light might be integrated into the surface of her canvases through the interplay of reflection and refraction. Corse’s exquisite paintings activate the viewer in the creation of the perceptual experience: the kinetic effect of the work is contingent upon the movement of the body through space. As Corse has explained: “Art is not on the wall, it’s in your perception.”