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Catalogo Natura.Pdf Natura Elegans Arte visiva e magia nelle tavole parietali vintage di Storia naturale Catalogo della mostra A cura di Mario Alberghina Giuseppe Maimone Editore © 2019 Il Consiglio di Presidenza GIUSEPPE MAIMONE EDITORE dell’Accademia Gioenia di Catania, Via G. De Chirico 40, San Gregorio di Catania (CT) www.maimone.it Mario Alberghina (Presidente) Sebastiano Barbagallo (Vice-Presidente) Tutti i diritti riservati Mario Marino (Segretario generale) Rosolino Cirrincione (Consigliere) Natura elegans: arte visiva e magia nelle Giuseppe Musumarra (Consigliere) tavole parietali vintage di Storia naturale / Alfio Ragusa (Consigliere) a cura di Mario Alberghina. - Antonietta Rosso (Consigliere), Catania : Maimone, 2019. ISBN 978-88-7751-457-8 nella riunione del 15 febbraio 2019, ha deliberato di procede- 1. Scienze naturali – Tavole – Collezioni re alla pubblicazione del Catalogo che accompagna la Mostra [dell’] Università degli Studi di Catania – sulle Tavole didattiche parietali curata dal sodalizio. Con il Cataloghi di esposizioni. volume l’Accademia intende confermare il suo protagonismo I. Alberghina, Mario <1944->. culturale e la sua capacità di incidere sul territorio in questo 578.0222 CDD-23 nostro tempo che abbandona con facilità e ignora senza im- SBN Pal0313032 barazzo. CIP - Biblioteca centrale della Regione siciliana “Alberto Bombace” Progettazione grafica Tangram Strategic Design Questo volume è stato stampato con il contributo economico dell’Università degli Studi di Catania Impaginazione Simona Maimone Nessuna parte di questo Catalogo può essere riprodotta o trasmessa in qualsiasi forma o con qualsiasi mezzo elettronico, meccanico o altro senza l’autorizzazione scritta dell’Accademia Gioenia di Catania. Catalogo della Mostra Ringraziamenti Sala grande del Museo di Zoologia del Dipartimento di Si ringraziano il Dipartimento di Scienze biologiche, Scienze biologiche, geologiche e ambientali dell’Università geologiche e ambientali e il Dipartimento di Agricoltura, degli Studi di Catania Alimentazione e Ambiente dell’Università degli Studi di Via Androne 81, 95124 Catania Catania per aver gentilmente concesso l’utilizzo delle 9 settembre - 26 ottobre 2019 Tavole parietali e il materiale iconografico in loro possesso durante l’allestimento e la durata della Mostra, A cura di Mario Alberghina superando ostacoli di ordine burocratico-amministrativo. Si ringrazia il personale bibliotecario e di servizio degli Comitato scientifico stessi Dipartimenti per i rilievi fotografici effettuati e prof. Alberghina Mario la fornitura di materiale didattico digitalizzato relativi prof. Barbagallo Sebastiano alla Mostra. Si ringraziano la Direzione e il personale prof. Marino Mario dell’Archivio storico dell’Università di Catania (ASUCT) dr. Nucifora Salvatore per aver fornito la massima collaborazione nelle ricerche prof. Pavone Pietro archivistiche concernenti documenti dell’Amministrazione prof. Petralia Alfredo centrale a supporto della Mostra. Si ringraziano i prof.ssa Rosso Antonietta componenti del Comitato scientifico per il loro prof. Sabella Giorgio entusiastico impegno nel portare a compimento positivo dr. Viglianisi Fabio Massimo l’attività di individuazione, di censimento e di catalogazio- ne scientifica di un bene culturale dimenticato, e per aver Coordinamento editoriale, messo a disposizione dell’Accademia Gioenia la loro espe- didascalie e schede delle Tavole: rienza didattica, capacità d’iniziativa e solidarietà. Infine a cura del Comitato scientifico si ringrazia particolarmente il prof. Alfredo Petralia, a cui si deve l’input per il progetto espositivo, a testimonianza Organizzazione e cura della mostra: della sua sensibilità e amore per il patrimonio culturale F.M. Viglianisi, G. Sabella, A. Rosso, A. Petralia collettivo del nostro territorio, particolarmente per la valorizzazione e la salvaguardia del materiale didattico Progetto dell’allestimento storico “pre-digitale” ancora presente in ambiente SKENARTE - Marco Libertino universitario. Arch. Sebastiano Pulvirenti Nel presentare qui gli esiti di un’attività di ricerca e ordinazione di “supporti didattici” del passato si Edizioni digitali e fotografia sottolinea come essa intenda essere soltanto premessa per Toni Puma , Fabio Massimo ulteriori iniziative museali di approfondimento necessario Viglianisi, Salvatore Nucifora, a disegnare un quadro più completo sull’argomento. Umberto Costa Sommario 9 Introduzione 7 21 Le serie di tavole più famose a. Botanica – Zoologia (1-15) b. Geologia e paleontologia c. Scienze mediche 41 Mostre e risorse Web 45 Libri 47 Illustratori – collaboratori 48 Editori 49 Indice Autori 52 Bibliografia 55 Catalogo Tavole Introduzione Accademia Gioenia ha ritenuto di fare rotoli murali di scorrimento cinesi e giappone- 9 L’ cosa gradita ai soci, agli studiosi, ai cul- si (kakejiku), hanging scrolls di calligrafia e di tori di storia della scienza e della didattica e a pittura naturalistica in bianco e nero o a colo- semplici amanti di cose belle, nel prolungare la ri, su seta o carta, ovvero ai pannelli scorrevoli vita di alcuni “oggetti” particolari, nel mettere di preghiera posti accanto agli altari di templi a disposizione della loro sensibilità e attenzio- buddisti. Risalendo verso il tempo presente, da ne un’antologia di immagini relative a tavole ultimo, sono apparse alle nostre latitudini le parietali didattiche conservate presso alcuni Tavole contemporanee dei cartelloni dell’opera Dipartimenti dell’Università di Catania. L’in- dei pupi e quelle multiple dei pannelli di storie tenzione palese è di scrivere, oltreché di esibi- di briganti e paladini esposti dai cantastorie re, una loro breve storia a ricordo delle future di strada, che pur hanno una loro valenza generazioni. Dobbiamo la proposta originaria artistica ed emozionale in aggiunta a quella di allestire questa mostra al prof. Alfredo Pe- didascalica. tralia. È da premettere che non facciamo riferimento I precedenti storici delle tavole parietali sono alle stampe o incisioni litografiche antiche di costituiti dalle carte geografiche da parete, carattere anatomico, botanico, entomologico, come quelle collezionate alla moda nei pa- di storia naturale pubblicate in Europa tra il lazzi della città di Venezia del Seicento (arte XVII e il XX secolo, all’interno di libri, atlan- cartografica veneziana) o come quelle che si ti, resoconti di viaggio, enciclopedie, collane notano nei particolari dei quadri dei pittori editoriali specialistiche, spesso colorate a Vermeer, Maes e Pieter de Hooch (vocazione mano, delle dimensione al massimo di 33x25 cartografica olandese). A quel tempo le carte cm. Esempi significativi possono essere le ta- erano viste come simboli di prestigio e di po- vole artistiche, botaniche ed entomologiche di tere, oltreché di aggiornamento delle scoperte Maria Sibylla Merian, pubblicate tra il 1675 geografiche del XVII secolo. Vermeer mostra e il 1705, o le 100 tavole litografiche di Ernst come le immagini geografiche facessero nor- Haeckel, dal forte impatto visivo, inserite nel malmente parte degli arredi delle case della volume Kunstformen der Natur del 1899- ricca borghesia, appese alle pareti e tenute 1904. tese da bastoni torniti. Riferendosi ad altro Nel corso del XIX secolo, l’evoluzione della precedente storico, le tavole si avvicinano ai pedagogia ha attribuito un ruolo sempre più 10 importante all’illustrazione visiva della mate- di tavole botaniche tra le più apprezzate e dif- ria oggetto di studio. Le tavole parietali con fuse, realizzate da Albert Peter, professore di funzione didattica comparvero per la prima Botanica a Göttingen, e da Leopold Kny, pro- volta in Germania intorno al 1820, avevano fessore di Fisiologia vegetale a Berlino. La loro dimensioni ancora ridotte e rappresentavano popolarità ha raggiunto un apice tra il 1870 soggetti piuttosto semplici e familiari: scene di e il 1920 perché vendute in grande quantità caccia, di vita quotidiana, di mestieri, etc. Le in tutta Europa, in America, in Russia e in scuole erano divenute popolari, cioè accessibili Australia, in virtù della loro eleganza grafica alla classi sociali meno favorite economica- oltreché del contenuto o messaggio scientifico. mente e le aule era piene di un largo numero Le tavole erano prodotte mediante tecniche di studenti che necessitavano di forti sussidi litografiche ed erano vendute singolarmente visivi per imparare più rapidamente. Alcune o in abbonamento per sottoscrizione. Ai sot- tavole delle varie serie si possono ancora oggi toscrittori erano inviate non appena le tavole osservare nei musei delle scuole elementari di diventavano disponibili (spesso 1-2 per anno), paese in Svizzera e Germania. L’aumento degli insieme con fascicoli e libri esplicativi o ac- alunni e il progresso della tecniche di stampa compagnate da un breve articolo che spiegava consentirono la realizzazione di pannelli di i risultati scientifici conseguiti dall’autore. Esse grandi dimensioni, spesso disegnati dagli stessi erano in effetti i PowerPoint di quell’epoca. professori di botanica, entomologia, fisica, mi- Insieme alle lanterne per slides una volta costi- neralogia, paleontologia, medicina. Tra la fine tuivano la base dell’istruzione scolastica fino a del 1800 e l’inizio del 1900, sempre in Ger- quando le nuove tecnologie, come i proiettori mania, alcune case editrici si specializzarono per diapositive, presero il loro posto. Negli nella produzione di tavole didattiche relative anni 1950/60, l’utilizzazione delle tavole mu- a diverse discipline curate dai più importanti rali era ancora raccomandata e impegnava
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