1,720,962 research outputs found
1939: i restauri alla mostra di Veronese nel panorama della tutela nazionale e locale
No full textLa campagna di restauri condotta da Mauro Pellicioli in occasione della mostra di Paolo Veronese (Venezia, Ca’ Giustinian e Ridotto, 25 aprile-4 novembre 1939) cade in un momento decisivo per la storia della tutela in Italia, nell’anno che vide la nascita dell’Istituto Centrale del Restauro e la promulgazione delle leggi Bottai. Il presente saggio intende offrirsi come proposta di interpretazione e approfondimento – in rapporto al contesto culturale e nel dialogo fra istituzioni centrali e periferiche – di alcuni dei più significativi restauri veronesiani analizzandoli alla luce di nuovi materiali fotografici e documentari
Pallucchini Direttore alle Belle Arti del Comune di Venezia (1938-1950): un itinerario museografico attraverso la storia della pittura veneta
No full textIl presente contributo si concentra sull’attività curatoriale di Rodolfo Pallucchini negli anni di servizio presso il Comune di Venezia (1938-1950). Le mostre curate da Pallucchini (Mostra di Veronese, 1939; Cinque secoli di pittura veneta, 1945; I capolavori dei musei veneti, 1946) sono oggetto di un'analisi mirata che, a partire dal materiale conservato nell'archivio dello studioso, intende porle in rapporto al proprio contesto di sviluppo, nel filo diretto che collega l'esperienza veneziana al dibattito museografico internazionale degli anni Trenta
«A Ca’ Giustinian fu tutto diverso». La mostra di Paolo Veronese a Venezia (1939) / «A Ca’ Giustinian fu tutto diverso» (At Ca’ Giustiniani eveything was different). Paolo Veronese exhibition in Venice (1939)
Get PDFLa mostra di Paolo Veronese si svolse a Venezia nel 1939 sotto la direzione di Rodolfo Pallucchini. Promuovendo una ricognizione materiale e critica dell’opera del maestro, la mostra fu l’occasione per effettuare una massiccia campagna di restauri ad opera del bergamasco Mauro Pellicioli e della sua squadra di collaboratori. Agendo sul duplice fronte della museografia e del restauro, Pallucchini si pose in dialogo con le parallele definizioni elaborate in sede istituzionale da Guglielmo Pacchioni e Giulio Carlo Argan. Il presente saggio intende offrire, attraverso materiale archivistico inedito, un’analisi del ruolo della mostra di Veronese nel contesto nazionale e internazionale, ricostruendo con un approccio interdisciplinare le dinamiche teoriche e operative che ne animarono lo svolgimento.
Veronese exhibition took place in Venice in 1939 under the direction of Rodolfo Pallucchini. While promoting both material and critical examination of Veronese’s work, the exhibition was an opportunity to undertake a massive restoration, performed by Mauro Pellicioli and his team of collaborators. Pallucchini’s museographical and conservative program was in close relation with the theories promoted by Guglielmo Pacchioni and Giulio Carlo Argan in public administration. This paper intends to offer, through unpublished archival evidence, a detailed analysis of Veronese exhibition in relation to national and international context, in order to understand with an interdisciplinary approach both its theoretical and practical aspects
Ambassadors of Beauty. Italian Old Masters and Fascist Cultural Diplomacy (1930-1940)
No full textLa tesi indaga le mostre di antichi maestri italiani (“Old Masters”) promosse dal governo fascista all’estero negli anni Trenta. Partendo dalla grande mostra italiana svoltasi alla Royal Academy di Londra nel 1930 (Italian Art 1200-1900), la ricerca si sofferma sulla successiva doppia rassegna parigina del 1935 (L’Art Italien de Cimabue à Tiepolo al Petit Palais e L’Art Italien des XIX et XX siècles al Jeu de Paume) e, infine, sulla mostra del ritratto italiano attraverso i secoli ospitata al Museo del Principe Paolo a Belgrado nel 1938. La tournée americana del 1939-1940, viceversa, è analizzata solo in relazione al contesto europeo. Attraverso un’estesa ricognizione dei materiali archivistici e della campagna stampa, la tesi ricostruisce modalità e dinamiche organizzative delle mostre, con particolare attenzione alla retorica (verbale e visiva) della movimentazione delle opere in rapporto alla diplomazia culturale internazionale. L’analisi dei casi-studio tiene conto del contesto bilaterale di origine e recezione delle mostre, sottolineandone, di volta in volta, il legame con le politiche di tutela e circolazione del patrimonio culturale e il rapporto con il dibattito museografico internazionale promosso dall’Office International des Musées (OIM). La tesi intende offrire una lettura trasversale e multidimensionale delle mostre come momenti di incontro – e, talvolta, scontro – fra storiografia artistica e mercato, musei e tutela, restauro e legislazione, nazionalismo e internazionalismo, delineando al tempo stesso peculiarità e sviluppo di politica fascista oscillante fra diplomazia culturale e propaganda.The dissertation investigates the exhibitions of Italian Old Masters promoted by the Fascist government abroad in the 1930s. Starting with the great Italian exhibition held at the Royal Academy in London in 1930 (Italian Art 1200-1900), the research examines the subsequent double exhibition in Paris in 1935 (L'Art Italien de Cimabue à Tiepolo at the Petit Palais and L'Art Italien des XIX et XX siècles at the Jeu de Paume) and, finally, the exhibition of Italian portraits through the centuries held at the Prince Paul Museum in Belgrade in 1938. The American tour of 1939-1940, conversely, is only analysed in relation to the European context. Through an extensive survey of archival materials and the press campaign, the thesis reconstructs the organisational dynamics of the exhibitions, and notably the (verbal and visual) rhetoric of the tranfer of the exhibits in relation to international cultural diplomacy. The analysis of the case studies considers the bilateral context of origin and reception of the exhibitions, underlining their connection with the policies of protection and circulation of cultural heritage and the relationship with the international museographic debate promoted by the Office International des Musées (OIM). The thesis aims to offer a transversal and multidimensional view of exhibitions as moments of encounter - and, at times, conflict - between art historiography and the art market, museums and heritage protection, restoration and legislation, nationalism and internationalism, thereby outlining the development of Fascist policy oscillating between cultural diplomacy and propaganda
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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