Il «fare» pensato. Le parole degli artisti, le idee dell’arte Arti Visive Giacomo A. Calogero, Gianluca del Monaco, Pasquale Fameli

La decorazione libraria negli scritti medievali sulle tecniche artistiche Gianluca del Monaco The article presents a brief survey of how book illumination is considered in a few of the primary medieval texts on artistic techniques. It is intended to scrutinize which themes are explored and how and with which words they are examined. The texts…

Descrivere la tradizione, codificare l’avanguardia: Cennino e la lavorazione dell’oro in tavola tra Trecento e Quattrocento Emanuele Zappasodi The text analyzes the technical procedures of the tooling of metal leaves in 14th- and 15th-century panel painting described in the Libro dell’arte by Cennino Cennini. This book gave significant importance to this specific aspect of painting….

Michelangelo universale: tra teoria e polimatìa Oscar Schiavone Michelangelo Buonarroti’s work illustrates the early modern fusion of, and balance between, distinct forms of knowledge. On the one hand, this contribution sees Michelangelo as an early modern theoretician offering a non-systematic contribution to Platonic idealism and aesthetic theory. On the other, Michelangelo’s Medici Chapel provides a…

«Io decisamente non sono un pittore di paesaggi». Vincent van Gogh all’Aja (1881-1883): note sulla nascita di una coscienza artistica Alessio Costarelli Though Vincent van Gogh’s French years (1885-1890) are traditionally the most studied and appreciated by the critics as well as by the public, some key aspects of his mature poetics and style cannot…

Aspetti teorici e dimensione pratica nell’attività di Lorenzo Lotto Francesco De Carolis This paper aims at analysing materials and processes used by Lotto to realise his paintings, starting from the records written on his account book, well known as Libro di spese diverse. At the same time, the present research considers his remarks about art…

In assenza di parole. Rembrandt “teorico”? Marco M. Mascolo The paper examines the problem of Rembrandt’s complex and poorly documented relationship with the so-called “art theory”. The essay aims to trace the evidence that allows us to reconstruct the artist’s position towards theoretical assumptions such as the importance of painting “nae ‘t leven”, that is,…

Contributi di Graham Sutherland a una fenomenologia dell’arte Pasquale Fameli In the writings of the English painter Graham Sutherland, it is possible to trace some general reflections on the genetic and structural foundations of art, particularly in the areas of engraving and sacred art. In this contribution will be emphasised the phenomenological character of these…