1,721,191 research outputs found
Recensione ad Andrea Leonardi, Un innovatore nell’ingegneria dei trasporti del XIX secolo. Luigi Negrelli, Bologna, Il Mulino, 2022, 400 p.
No full textRecensione a volume di Andrea Leonardi, Un innovatore nell’ingegneria dei trasporti del XIX secolo. Luigi Negrelli, Bologna, Il Mulino, 2022, 400 p.About the volume by Andrea Leonardi, Un innovatore nell’ingegneria dei trasporti del XIX secolo. Luigi Negrelli, Bologna, Il Mulino, 2022, 400 p.Critique de Andrea Leonardi, Un innovatore nell’ingegneria dei trasporti del XIX secolo. Luigi Negrelli, Bologna, Il Mulino, 2022, 400 p
MICHELANGELO ANTIFASCISTA A BARI (1964-1965). Il ‘non finito’ di Adriano Prandi e il critofilm di Carlo Ludovico Ragghianti nel IV centenario della scomparsa del Buonarroti
No full textIl 1964 fu un anno davvero particolare per la città di Bari che, sin dall’inizio del decen- nio, già stava inseguendo il velleitario riconoscimento del titolo di ‘Milano del Sud’. Questo accadeva sia in ragione delle novità introdotte, tra spazi pubblici e privati, da pro- gettisti affascinati dagli Stati Uniti come Vittorio Chiaia e Massimo Napolitano, sia per via del sostegno istituzionale di un politico come Aldo Moro, all’esordio del suo manda- to da presidente del Consiglio, iniziato con il suo I Governo nel dicembre del 1963. Nel mese di aprile del ’64, poi, proprio a Bari si andò a commemorare un evento significativo come quello del ventennale del congresso dei Comitati di Liberazione Nazionale che, nel 1944, si era aperto al Teatro Piccinni con una prolusione di Benedetto Croce. Inoltre, da novembre, nel giovane Ateneo istituito solo sessant’anni prima (quando fu intitolato a Benito Mussolini per celebrarne l’ascesa), si aprì il ciclo di conferenze curato da Adria- no Prandi, a discendere dalle celebrazioni nazionali focalizzate su un mito senza tempo come Buonarroti. È in questa specifica circostanza che Prandi invitò Carlo Ludovico Ragghianti a parlare del suo critofilm intitolato Michelangiolo, appena proiettato alla Mostra del Cinema di Venezia. Tra l’esordio di Aldo Moro come primo ministro (1963) e la sua tragica fine per mano delle Brigate Rosse (1978), si gioca dunque la parte forse più interessante dell’esperienza di Prandi, giunto a Bari all’indomani della nascita della Repubblica, che si ritrovò al centro di una davvero fittissima rete di relazioni, dai Laterza (1943), a Mario Sansone (1948), sino a Luciano Canfora (1978), in grado di saldarne l’attività non solo ai circoli intellettuali del capoluogo pugliese ma, soprattutto, alla di- mensione ‘larga’ dell’Italia del dopoguerra. Quelle appena riportate, sono solo alcune delle coordinate su cui è stato costruito questo libro/catalogo che raccoglie i contenuti di una mostra di ricerca sviluppata nell’ambito del progetto CHANGES e in partnership con la Fondazione ‘Centro Studi sull’Arte Licia e Carlo Ludovico Ragghianti - ETS’. Al- lestita nella restaurata Biblioteca di Storia dell’Arte, l’esposizione Michelangelo antifa- scista a Bari (1964-1965), R e VR, è un prodotto che vive tanto nello spazio ‘analogico’ di questo volume cartaceo, che raccoglie gli inediti contributi degli studiosi coinvolti, da Andrea Leonardi, a Fabio Mangone, a Elisa Bonacini, sino a Lorenzo Mattei, a Raffaella Cassano e a Tommaso Casini, quanto in quello ‘virtuale’ del World Wide Web
CHANGES: MICHELANGELO ANTIFASCISTA A BARI (1964-’65). Carlo L. Ragghianti e Adriano Prandi nel IV Centenario della scomparsa del Buonarroti
No full textIn April 1964, a signi"cant anniversary was celebrated in Bari, the 20th anniversary of the National Liberation Committees congress, opened in 1944 at the Teatro Piccinni with a speech by Benedetto Croce. Furthermore, also in 1964, in November, in the young Athenaeum founded only 60 years earlier, and then immediately named a$er Benito Mussolini, the series of conferences curated by the ‘Roman’ Adriano Prandi began, descending from the national celebrations focused on a timeless myth, Buonarroti. In this speci"c circumstance Prandi invited Carlo Ludovico Ragghianti to talk about his perhaps most famous and complex crito"lm, Michelangiolo, just presented at the Venice Film Festival, the same occasion attended by Pier Paolo Pasolini with his Vangelo secondo Matteo. Between Moro’s debut as Italian prime minister (1963) and his tragic end by the Red Brigades’ hands (1978), the most interesting part of Prandi’s experience and that of the Institute of History of Art and Archaeology of the University of Bari, founded by him in 1947, also took place. #e Institute found itself in the middle of a very dense network of relationships, able to link its activity not only to the Bari’s intellectual circles but, above all, to the ‘wide’ dimension of post-war Italy. #ese connections’ constant, from Laterza editors’ family (1943) to Mario Sansone (1948), up to Luciano Canfora (1978), was precisely a militant art historian like Ragghianti. A student at the Normale of Pisa (he had begun his student career in 1928, at the beginning of Giovanni Gentile’s management), then head of the National Liberation Committee of Tuscany, in 1946 author for the Laterza editions (Commenti di critica d’arte and Miscellanea minore di critica d’arte), which would later also published his Disegno della Liberazione italiana, from 1963 Ragghianti was in contact with Prandi for primary issues concerning the National Research Council (C.N.R.), the establishment of the Italian Society of Archaeology and History of Art (S.I.A.S.A.), of which he also became president in 1969, in addition to the numerous eorts to reorganize the governance of a crucial hub of humanist power, such as the National Institute of Archaeology and History of Art (I.N.A.S.A.)
Italia 1870. Tre lettere intorno alle gallerie, ai musei e alle pinacoteche della nuova nazione
No full textMargherita Nugent (1891-1954): lo sguardo di un’intenditrice d’arte sulla pittura genovese del Seicento e del Settecento
No full textThe discovery of Genoese painting of the seventeenth and eighteenth centuries has many ancestors and it also goes through the history of exhibitions and through those who cherished to visit them. The case of the attention given to this topic by the countess of Irsina, Margherita Riario-Sforza-Nu- gent, an eclectic collector who also visited Genoa, but, above all, a frequent attendee of exhibitions in Italy and abroad, is another interesting building block, not so considered in historiography up to today. In particular, her uncommon skill to read artworks - thanks to the connections she often ma- naged to grasp them easily in comparison to the places she visited (e.g. in the Genoese case, the Red, White and Granello Palaces) - achieved unexpected results in her notes, dedicated to the pe- rhaps most iconic painting of the Ligurian baroque, Reception in a Garden by Alessandro Magna- sco, and defined by the noblewoman as an «open-air salon», certainly among the most frequent art-work in the blockbuster exhibitions of the Twenties
Boston-Bari-Chicago: The Taste of Virtuosi. Un'introduzione tra critica e linee di studio
No full textNel 1962, Giuliano Briganti introduceva un’inedita categoria sociale, quella dei ‘virtuosi’, a seguire, nel 1963, Francis Haskell de nì un concetto altrettanto performante, quello di ‘provincia’. Muovendo da tali intuizioni ed estendendole insieme al delta cronologico di riferimento (1400-1900), il volume The Taste of Virtuosi propone al lettore un ideale crossover per il tramite di personalità – esponenti del ceto dirigente e magnatizio, feudatari, mogli- glie-madri di feudatari, prelati, ma anche pittori-falsari e intenditrici d’arte – certo distanti dal punto di vista delle epoche di riferimento, della provenienza e della tipologia sociale di appartenenza, ma, comunque, a tal punto signi canti da costituire sicuri exempla di nuovi ‘virtuosi’ in ragione di una pratica del collezionismo e del mecenatismo intesa quale «specchio di cultura e termometro del gusto» (C. De Benedictis)
Benvenuti al Sud. Il gusto dei genovesi nel Regno di Napoli: materiali di ricerca
No full textThe matter of Genoeses in the Viceregno (‘Kingdom of Naples’) is a question which has lent itself to multiple critical readings, as highlighted by historians, in particular during the sixteenth and the seventeenth centuries. As "Hombres de negocios", involved to build up financial strategies, they also proved to be motivated by a social ambition, satisfied through the acquisition of fiefdoms in Puglia, Basilicata, Campania and Calabria. In order to obtain noble titles, this practice was also em- phasized by Rubens in his atlas dedicated to the Palaces of Genoa, when he described the sumptuous residence of the “signor principe di Gerace” (‘Prince of Gerace’). As regard to the historical- artistic implications of this phenomenon - and net of pioneering investigations centred on Naples or on the Sicilian side -, there is still a lack of critical readings of what we can surely define complex forms of patronage and collecting, projected onto the Viceregno. The aim is therefore to trace, through some exemplary cases, the perimeter of the wealth of relationships - not only in economic terms - between the Genoese aristocrats and their southern holdings
Lontano da Napoli ma non troppo (1877-1898). la Puglia di «città antiche e monumenti classici» tra Giovanni juniore Jatta, Edward Perry Warren e Bernard Berenson
No full textIt’s 1877 when the Relazione intorno alle città antiche ed ai monumenti classici del Distretto di Barletta was drawn up by Giovanni juniore Jatta (1832-1895), already an acute author of the Catalogo del Museo Jatta con breve spiegazione dei monumenti da servir da guida ai curiosi (Naples 1869), that is by the one who had been chosen by his uncle Giovanni seniore (1767-1844) as the heir-curator of the family collection begun in Naples and then turned into a museum in Ruvo. A Report such as the one presented here (59 pages) can be considered proof of Giovanni juniore’s skills derived from his classical studies and which he poured into the role of inspector of Exca- vations and Monuments for the Ministry of Public Education
LA ‘SWINGING BARI’ (1964-1975) E IL DIBATTITO SULLE ARTI. Adriano Prandi, la Pinacoteca Provinciale, la Mostra dell’Arte in Puglia dal Tardo Antico al Rococò
No full textIf we had to identify a significant fact to understand what was happening inside, around and outside the Institute of History of Art and Archaeology, founded in Bari in 1947 by Adriano Prandi, it could be fixed precisely in his contribution to the reopening of the Art Gallery located on the third floor of the Palazzo della Provincia, overlooking the Lungomare Nazario Sauro. This ‘container’, in 1964, hosted the Exhibition of Art in Puglia from Late Antiquity to Rococo, thus marking a decisive change of pace for the museum after its first inauguration in 1935. The new course had been announced since September 1962 with «an original exhibition», not better specified, the organization of which was entrusted to Michele D’Elia, assistant and favorite student of Prandi, in agreement with Mario Salmi, then president of the Higher Council for Antiquities and Fine Arts. In a Bari already following a certain idea of modernity, thanks to the innovations introduced, between public and private spaces, by designers such as Vittorio Chiaia and Massimo Napolitano trained in the United States, opportunities also began to be de"ned, for a debate on the cultural infrastructures of the city, permanent and/or temporary, but always of a certain historical-artistic matrix. It is not only a question of the Provincial Art Gallery, but also of a new possible National Gallery of Modern Art for which, in 1967, thanks to the commitment of Prandi, personalities such as Raaello Causa, superintendent of the Gallerie della Campania; Guido Perocco, director of the International Gallery of Modern Art in Venice; up to Palma Bucarelli, director of the National Gallery of Modern Art in Rome. #e debate continued until at least 1975, and was resolved not only with Prandi’s experience at the University, but also with a period that then ended, in spite of itself, in 1978 with the kidnapping and killing of perhaps the most famous Apulian of the 20th century, Aldo Moro, repeatedly prime minister from 1963 to ’68 and between 1974 and ’76, thus consuming - on the so- called ‘Night of the Republic’ - the false myth of Bari as the ‘Milan of the South’
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