Domenico Morelli e Angelo Conti. La costruzione lirica di una critica per un “artista fratello” Anna Mazzanti In 1927, celebrations for the centenary of Domenico Morelli’s birth included the creation of an extensive retrospective exhibition that comprised 79 works, many masterpieces of Morelli’s historical verism but especially works of the advanced phase with biblical-symbolic and…
Sandro Morachioli
La «scomparsa» di Morelli. Sfortuna critica di un grande pittore ottocentesco (1915-1961) Sandro Morachioli Domenico Morelli was notoriously a central figure of his time, but many people came to terms with him even after his death. Further, consecration through a profusion of writings dedicated to him and a relatively constant exhibition presence made the Neapolitan…
Gerardo de Simone, Emanuele Pellegrini
Il valore delle immagini Gerardo de Simone, Emanuele Pellegrini
Pietro Roccasecca
Osservatore e spettatore nella teoria della composizione di Leon Battista Alberti Pietro Roccasecca In this short essay I examine the theory of composition in Leon Battista Alberti’s De pictura to question it on the roles of the beholder and spectator of painting in the theory of pictorial composition. To this end, I first verify in…
Roberta Delmoro
«e dietro alle spalle loro, per campo, fece alcune spalliere di rosai»: precisazioni sui perduti affreschi riferiti a Stefano da Verona in San Francesco a Mantova Roberta Delmoro The essay starts out from a review of Calzolari’s photos of the ancient (and lost) chapel of Saint Anthony of Padua, in the church of Saint Francis…
Francesco Freddolini
Due cherubini inediti di Giovanni Baratta: un frammento ritrovato del perduto altare di Santa Trinita a Firenze Francesco Freddolini This article presents two hitherto unpublished marble Cherub heads in a private collection and attributes them to the Carrarese sculptor Giovanni Baratta (1670-1747). Baratta spent most of his early career in Florence, where he enjoyed the…
Lynn Catterson
Stefano Bardini’s Sculptor from Philadelphia: A.E. Harnisch & the Manufacture of Italian Renaissance Sculpture in the late Nineteenth Century Lynn Catterson Albert E. Harnisch (1843-1918), the sculptor and painter born and trained in Philadelphia, relocated in 1869 to Rome, where he enjoyed success, including commissions from America for public monuments. His legacy includes many high-quality…
Andrea Mirabile
Piero Manzoni, Libera dimensione Andrea Mirabile The essay analyzes Piero Manzoni’s Libera dimensione (published in 1960 in the second and last issue of the journal «Azimuth»). Manzoni argues that figurative painting is dead, critical commentaries of a work of art are useless, and verbal language in general is incapable of interpreting, translating, and even describing…
Giuliana Altea
“Featuring” e collaborazione creativa nelle arti visive. Maria Lai e Antonio Marras Giuliana Altea The term “featuring” is currently used in music to indicate creative partnerships between artists from close or distant genres, with cultural as well as marketing goals. In this paper I apply the concept of featuring to a type of collaboration that…
Vanda Lisanti
Le postille di Alessandro Maggiori al primo catalogo a stampa della Pinacoteca Capitolina di Agostino Tofanelli: precisazioni all’allestimento del 1817 Vanda Lisanti Thanks to the discovery of a version of the first printed catalogue of the Pinacoteca Capitolina annotated by the critic and collector Alessandro Maggiori (BCM, ms. 163), the article reconstructs part of the…