1,721,129 research outputs found
‘Cosa venite a fare alla Minerva?’- ‘Il mio dovere’. Alcune note sull'attività di Adolfo Venturi presso il Ministero della pubblica Istruzione
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La “Storia pittorica” di Luigi Lanzi e i “quattro Carli”
No full textThe article deals with Luigi Lanzi’s use of the topos of the “quattro carli” in his Storia pittorica within the frame of a discussion on the French school of painting. This case allows to shed light on how Lanzi used and manipulated art historical sources in order to offer a convincing and readable narrative to his readers. The change of the context of Lanzi’s quotation of the “quattro carli” from the 1st (1792) to the 2nd edition (1795-1796) of the Storia pittorica suggests interesting clues on Lanzi’s shift of approach towards a different national tradition (Charles Le Brun and the French Academy at Rome) and towards coeval artists, such as Jacques-Louis David
Musei civici nel primo dopoguerra. Il ruolo di Nino Barbantini
No full textIn the early twentieth century, after remarkable success and growth in the numbers and size of their collections over the nineteenth century, municipal museums experienced a period of transition and redefinition oI their aspirations. In this context, this essay aims to examine various features of Barbantini’s work, focusing firstly on the newspaper articles he wrote regarding the run-down state of the museums and artistic heritage of his hometown, Ferrara. The essay then discusses the broader and more organic strategy that Barbantini, an extraordinary force for cultural improvement, implemented after his move to Venice where, in the nineteen-twenties, the museums and temporary exhibitions had increasingly become a vehicle for a cultural policy that was open to actions aimed at promoting the city’s image and tourism. At the time, Venice was considering its ambitions and its future prospects in a political clash between the partisans of splendid isolation and the new demands for modernisation
Recensione a Anderson, Jaynie; Zampetti, Pietro; Massa, Marina: I taccuini manoscritti di Giovanni Morelli. - Milan : Motta: 2000
No full textLa fotografia nel museo d’arte a fine Ottocento: sovrapposizioni e occasioni per una rinnovata filologia visiva. Alcuni spunti
Full text linkThe article deals with the effects of photography on the practices of art historians, focusing on some German cases. Photography, defined by Paul de Saint-Victor in 1887 as the “musée en action de l’art européen,” offered unprecedented opportunities for a renewed visual philology. Yet this evolution was more complex and less unidirectional than is generally thought. The illustrated publications of Gustav Scheuer in the 1860s attest to different ways of manipulating photographic images and illuminate the connections between photography and comparative methods,
which initially concerned the relationships between original paintings and photographs much more than those among paintings themselves
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