2005 — n. 17

The Strona Valley in ancient times

Territory, history and prehistory in rock engravings.

Antonio Biganzoli

From research performed by Rosè De Giuli, Giuseppe Femia, Severino Piana, Luciano Puricelli and Venerino Quaretta.
Paper bound, 24x28, 176 pages, 244 colour photographs, 49 sites counted, 7 topographical maps, 34 reliefs of engravings.

“A journey through the length of the Strona Valley, from Gravellona Toce to the high pastures between Capezzone and Montagna Ronda, in search of the most ancient marks left on the rocks by shepherds and mountain people. The cultural link between prehistory, Middle Ages and modern times, contained within these mysterious engraved symbols.”

2001 — n. 16

Hoc Opus Fecit

Fifteenth century frescoes in the Lake Maggiore area.

Francesca Zocchi

1998 — n. 15

The marked territory

Rock engravings in the Lake Maggiore area

Antonio Biganzoli

Paper bound, 24x28 cm, 220 pages, 266 colour photographs, 65 sites counted, 14 maps, 75 drawings, relief maps and illustrations.

“Cup-marked and engraved boulders are a feature of human settlement beginning in the Neolithic, and “mark” settlements which have been lost or which still exist in the mountainous areas of the Lake Maggiore region. Biganzoli’s study highlights cup-marks as nothing less than “historical documents” to use in the laborious reconstruction of the relationship between man and the territory in ancient times.”

1996 — n. 14

Gian Maria Rastellini 1869-1927

Sergio Rebora

Exhibition catalogue. Paper bound,  22x24 cm, 94 pages, 32 colour reproductions and 10 black and white illustrations.

“ The work of the Vigezzo painter Gian Maria Rastellini has been rediscovered through this exhibition and its catalogue. Rastellini was a pupil of Enrico Cavalli at the Rossetti Valentini School of Fine Art in Santa Maria Maggiore in the Vigezzo Valley. The works presented here – family and commissioned portraits, still lifes, Vigezzo landscapes, seascapes - reveal his naturalism, which sometimes hints at a degree of symbolism.”

1993 — n. 13

Romanesque motifs

Rosemma Cusa

1993 — n. 12

Facades of historic buildings

The colour plan of Verbania

Fabrizio Bianchetti

1992 — n. 11

Carlo Cressini, high mountain landscape painter

Sergio Rebora

Exhibition catalogue. Paper bound, 22x24 cm, 144 pages, 40 colour reproductions, 40 black and white illustrations.

“The three silences of the artist Carlo Cressini: the silence of the high mountains (he was regarded as one of the best mountain painters); the silence that always marked his working far from the noise of debate and assertions; and the silence of neglect of his artistry, even before his death.”

1991 — n. 10

Achille Tominetti

Various authors

Exhibition catalogue. Paper bound, 22x24 cm, 178 pages, 52 colour reproductions, 75 black and white illustrations. Texts by M. Bertolo, G. Ginex, P. Nicholls, G. Pizzigoni, S. Rebora and A. Scotti.

“Achille Tominetti was a “peasant-painter” admired by Antonio Massara, the founder of the Museo del Paesaggio; Massara regarded Tominetti, with his genuineness and rustic simplicity, as having “sprung spontaneously” from the lake and mountains of the Maggiore area. The painter lived and worked largely in Miazzina, painting the surrounding landscapes and the work of the people of the village faithfully in a style between Lombard naturalism and traces of Divisionism.”

1988 — n. 9

Leonardo Dudreville in Ghiffa

Paolo Thea

Exhibition catalogue. Paper bound, 22x24 cm, 88 pages, 23 colour and 36 black and white illustrations. With texts by S. Carlevaro, L. Dudreville, P. Dudreville, C. L. Ragghianti and P. Thea.

“Twenty years or so after moving from “abstraction” to “realism” (according to his definitions), in 1942, Leonardo Dudreville went to live in Ghiffa, where he devoted himself to landscapes, portraits, still lifes, of which his favourite subjects were paintings of flowers and game. The catalogue offers a selection of paintings dating from 1942 to 1968.”

1987 — n. 8

Sassu. Landscape

Giorgio Mascherpa

Exhibition catalogue. Paper bound, 22x24 cm, 112 pages, 105 colour reproductions.

“In these landscape paintings, almost all previously unpublished, the relationship of the great Italian artist Aligi Sassu with nature as something to be contemplated (myths originate in contemplation: the myths of the sea, the sun, the islands, the forests), or as a place where the spiritual activity of the individual is projected, is expressed in his use of colour.”

1986 — n. 7

Giovanni Battista Ciolina

Human beings and landscapes of the Vigezzo Valley

Aurora Scotti

Exhibition catalogue.

1986 — n. 6

Colour in a built-up environment

Fabrizio Bianchetti

Paper bound, 22x24 cm, 80 pages, 52 colour and 14 black and white illustrations.

“It often happens that the restoration of historic town centres concentrates on saving buildings at the expense of the colours and chromatic harmony of the environment. This book, aimed at the general public, describes the Plan for the colour coordination of the town of Omegna, drawn up by the author, and gives practical details on methods to apply in the conservation of this kind of environment.” 

1986 — n. 5

Medieval frescoes

The Church of San Remigio in Pallanza

Maria Pia Zocchi

Paper bound, 22x24, 88 pages, 47 black and white illustrations.

“Set in a panoramic position on the Castagnola hill, the Romanesque church of San Remigio contains important medieval frescoes (11th and 13th centuries). Zocchi’s study analyzes them in the context of medieval Italian art, and also covers the architecture and the historical background.”

1985 — n. 4

Siro Penagini

Mario De Micheli

Exhibition catalogue. Paper bound, 22x24 cm, 96 pages, 82 black and white and 13 colour illustrations.

“Siro Penagini (Milan 1885 – Solcio di Lesa 1952) gives the impression in his work of being from Northern Europe rather than Lombardy. His painting is limpid, clear-cut, diamond-sharp. His pictures – human figures, landscapes, still lifes – cannot be taken in at a hasty glance, but repay careful scrutiny, revealing the magic of their crystal-clear, measured style.”

1984 — n. 3

Gignese en plein air

Nicoletta Colombo

Exhibition catalogue.

1982 — n. 2

Paintings by Luigi Bolongaro

Giuseppe Luigi Marini

Exhibition catalogue.

1982 — n. 1

Villa San Remigio a Pallanza

Renata e Carola Lodari