Disquieting Muse” Affaire
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Redalyc.Giorgio Morandi and the “Return to Order”: from Pittura
Anales del Instituto de Investigaciones Estéticas ISSN: 0185-1276 [email protected] Instituto de Investigaciones Estéticas México AGUIRRE, MARIANA Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917- 1928 Anales del Instituto de Investigaciones Estéticas, vol. XXXV, núm. 102, 2013, pp. 93-124 Instituto de Investigaciones Estéticas Distrito Federal, México Available in: http://www.redalyc.org/articulo.oa?id=36928274005 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative MARIANA AGUIRRE laboratorio sensorial, guadalajara Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917-1928 lthough the art of the Bolognese painter Giorgio Morandi has been showcased in several recent museum exhibitions, impor- tant portions of his trajectory have yet to be analyzed in depth.1 The factA that Morandi’s work has failed to elicit more responses from art historians is the result of the marginalization of modern Italian art from the history of mod- ernism given its reliance on tradition and closeness to Fascism. More impor- tantly, the artist himself favored a formalist interpretation since the late 1930s, which has all but precluded historical approaches to his work except for a few notable exceptions.2 The critic Cesare Brandi, who inaugurated the formalist discourse on Morandi, wrote in 1939 that “nothing is less abstract, less uproot- ed from the world, less indifferent to pain, less deaf to joy than this painting, which apparently retreats to the margins of life and interests itself, withdrawn, in dusty kitchen cupboards.”3 In order to further remove Morandi from the 1. -
Storia Di Firenze Annali I 2006.Indd
!NNALIDISTORIADIFIRENZE ) Avvertenza Le pagine a seguire forniscono, per gli anni 2001 e 2002, un elenco ordi- nato alfabeticamente per autore dei volumi, dei saggi in opere collettanee e degli articoli su riviste attinenti la storia fi orentina. Tale materiale, ugualmente suddiviso in tre sezioni, è disponibile anche nel portale «Storia di Firenze» nella sezione «Bibliografi a» dove è possibile trovare anche il link alla scheda del vo- lume disponibile nel catalogo delle case editrice (htpp://www.dssg.unifi .it/sdf/ bibliografi a.html). Nel prossimo numero degli «Annali» comparirà la bibliogra- fi a relativa al biennio 2003-2004. L’eccezionale vastità della produzione scientifi ca su Firenze e l’assenza di uno strumento unico di aggiornamento bibliografi co al riguardo, oltre ad essere il motivo essenziale di questo lavoro ne rappresenta anche il principale elemento di diffi coltà. Per gli intenti del portale, il profi lo scientifi co e gli interessi dei membri della redazione, la cultura fi losofi ca e letteraria e la storia delle arti fi - gurative risultano relativamente in secondo piano rispetto ai temi storiografi ci. La ricerca di cui queste pagine sono il frutto ha infatti integrato risorse diverse (bibliografi e on-line, siti di case editrici, segnalazioni su riviste e spogli di data- base bibliografi ci), nell’intento, non sempre di facile realizzazione, di isolare materiali propriamente riferiti alla storia di Firenze e omettendo una consimile ricerca in fonti a carattere storico-artistico o storico-letterario. Ci auguriamo che questa consapevole limitazione, anziché indebolire l’effi cacia del nostro lavoro, ne precisi la consistenza e quindi la fruibilità per i lettori. -
Giorgio De Chirico E Venezia: 1924-1936
255 GIORGIO DE CHIRICO E VENEZIA: 1924-1936 Giorgia Chierici SOMMARIO: Parte I Giorgio de Chirico e la Biennale di Venezia 1) 1924: XIV Esposizione Internazionale d’Arte della Città di Venezia 2) 1927-1930: da «Comœdia» alla non partecipazione alla XVI Biennale 1928 e XVII Biennale 1930 3) 1932: XVIII Esposizione Biennale Internazionale d’Arte Parte II Giorgio de Chirico e le mostre organizzate all’estero dalla Biennale 4) 1933: New York e Vienna 5) 1935: Varsavia e Parigi 6) 1936: Budapest Tavola delle abbreviazioni: APICE: Archivi della Parola, dell’Immagine e della Comunicazione Editoriale, Milano Archivio della Fondazione: Archivio Fondazione Giorgio e Isa de Chirico, Roma ASAC: Archivio Storico delle Arti Contemporanee, Venezia CRDAV: Centro Ricerca e Documentazione Arti Visive, Roma Mart: Museo d’Arte Moderna e Contemporanea Trento e Rovereto, Rovereto Nota alla lettura: In caso di errori di ortografa e battitura nei testi originali, si è preferito trascrivere fedelmente ogni documento. La maggior parte delle lettere e documenti sono trascritti solo in parte, ed è riportata la collocazione dove sono contenuti. Metafisica 2018 | n. 17/18 256 Giorgia Chierici Parte I – Giorgio de Chirico e la Biennale di Venezia 1) 1924: XIV Esposizione Internazionale d’Arte della Città di Venezia Nel 1924 Giorgio de Chirico partecipa per la prima volta alla Biennale di Venezia. In questo primo capitolo attraverso la lettura dei documenti si ricostruisce il rapporto dell’artista con la Manifesta- zione Internazionale d’Arte di Venezia: in particolare, de Chirico invia le due opere L’ottobrata e I duelli a morte, entrambe del 1924, dipinti a tempera grassa, parentesi pittorica che lascerà il posto al “ritorno all’olio” e a nuovi temi degli anni successivi. -
Francesca Coccolo, Rodolfo Siviero Between Fascism and the Cold
STUDI DI MEMOFONTE Rivista on-line semestrale Numero 22/2019 FONDAZIONE MEMOFONTE Studio per l’elaborazione informatica delle fonti storico-artistiche www.memofonte.it COMITATO REDAZIONALE Proprietario Fondazione Memofonte onlus Fondatrice Paola Barocchi Direzione scientifica Donata Levi Comitato scientifico Francesco Caglioti, Barbara Cinelli, Flavio Fergonzi, Margaret Haines, Donata Levi, Nicoletta Maraschio, Carmelo Occhipinti Cura scientifica Daria Brasca, Christian Fuhrmeister, Emanuele Pellegrini Cura redazionale Martina Nastasi, Laurence Connell Segreteria di redazione Fondazione Memofonte onlus, via de’ Coverelli 2/4, 50125 Firenze [email protected] ISSN 2038-0488 INDICE The Transfer of Jewish-owned Cultural Objects in the Alpe Adria Region DARIA BRASCA, CHRISTIAN FUHRMEISTER, EMANUELE PELLEGRINI Introduction p. 1 VICTORIA REED Museum Acquisitions in the Era of the Washington Principles: Porcelain from the Emma Budge Estate p. 9 GISÈLE LÉVY Looting Jewish Heritage in the Alpe Adria Region. Findings from the Union of the Italian Jewish Communities (UCEI) Historical Archives p. 28 IVA PASINI TRŽEC Contentious Musealisation Process(es) of Jewish Art Collections in Croatia p. 41 DARIJA ALUJEVIĆ Jewish-owned Art Collections in Zagreb: The Destiny of the Robert Deutsch Maceljski Collection p. 50 ANTONIJA MLIKOTA The Destiny of the Tilla Durieux Collection after its Transfer from Berlin to Zagreb p. 64 DARIA BRASCA The Dispossession of Italian Jews: the Fate of Cultural Property in the Alpe Adria Region during Second World War p. 79 CAMILLA DA DALT The Case of Morpurgo De Nilma’s Art Collection in Trieste: from a Jewish Legacy to a ‘German Donation’ p. 107 CRISTINA CUDICIO The Dissolution of a Jewish Collection: the Pincherle Family in Trieste p. -
Cultural Heritage Of
® LIFE BIENNIAL BEYOND TOURISM® PUBBLICATION EVENTS 2014 - 2016 MEETING THE WORLD IN FLORENCE Centro Congressi al Duomo Life Beyond Tourism® Events Director | Direttore Carlotta Del Bianco Coordinator | Responsabile Michaela Žáčková Rossi Organizing Secretariat | Segreteria Organizzativa Stefania Macrì Eleonora Catalano Zdenka Skorunkova Dati Chika Arai Publication edited by | Pubblicazione a cura di Centro Congressi al Duomo: Life Beyond Tourism® Events With the collaboration of | Con la collaborazione di Centro Congressi al Duomo: Hotel Laurus al Duomo Hotel Pitti Palace al Ponte Vecchio Design and layout | Progetto grafico e impaginazione Corinna Del Bianco Maria Paz Soffia Contents | Contenuti Life Beyond Tourism® Events Abstracts texts have been sent to Life Beyond Tourism® Events by the Project Leaders of each conference and workshop – promoted by the Fondazione Romualdo Del Bianco® of Florence. I testi degli abstract di convegni e workshop – promossi dalla Fondazione Romualdo Del Bianco® – sono stati forniti a Life Beyond Tourism® Events dai Project Leader degli stessi eventi. Translation | Traduzione Eleonora Catalano Masso delle Fate Edizioni Via Cavalcanti 9/D - 50058 Signa (FI) ©Fondazione Romualdo Del Bianco® - Life Beyond Tourism® Masso delle Fate Edizioni ISBN LIFE BIENNIAL BEYOND TOURISM® PUBBLICATION EVENTS 2014 - 2016 Our ability to reach unity in diversity will be the perfect present for the test oF our civilization MAHATMA GANDHI Welcome to Florence! In order to offer the travellers support to their Florence, a personal and professional Florentine journey, the Centro Congressi al Duomo has established an event planning section called Life Beyond Tourism® city frozen in Events, which for years has been organizing in Florence international and intercultural events. -
Abject Art, 33 Abraham, Karl, 82, 83, 246 Adorno, Theodor W., 92, 181
Index Page numbers in boldface indicate illustrations. Abject art, 33 Bachelor machines, 120, 151, 163, 173, 181, Abraham, Karl, 82, 83, 246 323, 334 Adorno, Theodor W., 92, 181 Baker, Josephine, 99 African art, 29, 31, 36, 159, 346n20 Ball, Hugo, 158, 166, 174, 176, 191, 286 Allen, Woody, 41 Balla, Giacomo, 132 Anthologie Dada, 158 Baroque art, 265–269 Apotropaic transformation, 260, 262, 263, Barthes, Roland, 238 268, 271, 272 Bataille, Georges, 4, 49, 204, 205, 238, Aragon, Louis, 209 242, 338 Arp, Hans, 158, 159, 186 Baudelaire, Charles, 12, 186 Art brut, 203–204 Bauhaus, 78, 110, 113, 114, 151, 199 Art Nouveau, 59, 81, 88–95, 98–99 Beehle, Hermann, 205, 206 Arts and crafts, 57, 58, 59, 60, 63, 65 Bellmer, Hans, 114, 181, 230–239, 231, Aurier, Albert, 44–45 234, 235, 237 Austro-Hungarian Empire, 56–57 Benjamin, Walter, 92–94, 99, 114, 168, 181, Authenticity, modernist critique of, 63–64, 185–186, 199, 202, 205 65, 67 Bergson, Henri-Louis, 134, 148 Berlin, 42, 223 Baargeld. See Grünwald, Alfred Bersani, Leo, 126 Baartman, Saartjie, 12 Bertelli, R. A., 128, 130 Index Biondo, Michael, 302 Castner, Louis, 157 Bleuler, Eugen, 194 Cellini, Benvenuto, 258 Bloch, Ernst, 94 Cézanne, Paul, 279 Boiffard, Jacques-André, 224, 225 Mont Sainte-Victoire Seen from Les Bois, Yve-Alain, 33 Lauves, 280 Bonn, University of, 156, 198, 209 Chagall, Marc, 158 Bosch, Hieronymus, 330 Charcot, Jean Martin, 194 Bourgeois aesthetics, 57, 65–70, 72, 75, Chasseguet-Smirgel, Janine, 87 92–94, 104 Chicago, 59 Bourke, John G., 84, 85 Children, art of, 193, 203 Brancusi, -
De Chirico in the René Gaffé Collection& the Role of E.L.T Mesens
The archival materials cited in this essay are courtesy of The Getty Research Institute, Los Angeles 43 De Chirico in the René Gaffé Collection & the Role of E.L.T Mesens (Brussels – London) Victoria Noel-Johnson In 1946, René Gaffé (Brussels, 1887-1968) – the Belgian journal- ist, author, collector and bibliophile - wrote a short monograph dedicated to Giorgio de Chirico entitled Giorgio de Chirico. Le voy- ant (Éditions La Boétie, Brussels, fig. 1).1 Published in Gaffé’s na- tive city, the book contains an extensive yet overlooked essay about de Chirico’s early Metaphysical work, as well as a total of 24 black and white reproductions of important paintings executed in the 1910s and 1920s. As an important connoisseur and collector of de Chirico’s œuvre, together with work by Belgian Surrealists such as René Magritte and Paul Delvaux, this article will principally focus on Gaffé’s keen interest in de Chirico, which, in turn, helped disseminate knowledge about his painting within Belgium during fig. 1 R. Gaffé, Giorgio de Chirico. Le 2 the early twentieth century. As his impressive art collection was Voyant, Éditions La Boétie, Brussels, 1946 built and then partly sold off with the intervention of Eduoard Léon Théodore Mesens (Brussels, 1903-1971), a Belgian gallerist and editor who championed Surrealism in Belgium and later in the UK (mainly initiated by the 1937 sale of a substantial part of Gaffé’s collection to the British collector Roland Penrose), this paper will also examine Mesens’ involvement in the acquisition and sale of Gaffé’s de Chiricos.3 1 This article is the expanded and revised version of the article Le voyant: analyse des liens entre René Gaffé et Giorgio de Chirico, in Giorgio de Chirico. -
Alberto Savinio and the "Years of Consent:" the Experience of "Colonna" (1933–34)
ITALIAN MODERN ART | ISSUE 2: Alberto Savinio ISSN 2640-8511 and the “Years of Consent:” The Experience of “Colonna” (1933–34) ALBERTO SAVINIO AND THE "YEARS OF CONSENT:" THE EXPERIENCE OF "COLONNA" (1933–34) italianmodernart.org/journal/articles/alberto-savinio-and-the-years-of-consent-the-experience- 0 of-colonna-1933-34 Lucilla Lijoi Alberto Savinio, Issue 2, July 2019 https://www.italianmodernart.org/journal/issues/alberto-savinio/----------------. - ---- Abstract This presentation considers the significant role Alberto Savinio played in the production and promotion of Italian culture during the early thirties, focusing specifically on Savinio’s founding and directing of the monthly review Colonna. Periodico di civiltà italiana. Although Colonna folded after only five issues, during its run the periodical served as a vehicle for Savinio to actively contribute to the revival of Italian culture as well as the movement around the “uomo nuovo italiano,” which was promoted by Fascism in the so-called “years of consent.” Crucial to confronting the delicate relationship of Alberto Savinio to fascism in the early thirties is the consideration of his decision to establish Colonna (figure 1), a monthly journal of art and culture that was partially in line with the cultural direction being promoted by Benito Mussolini. An important date in this history is 1933, the year in which Savinio moved to Italy with his family after several years in Paris. The Italy of the early thirties was very different from the country Savinio had left in 1926. In fact, Mussolini was pursuing the total “renovation” of the Italian people in his attempt to create “the new fascist man,” a protagonist for both the Mediterranean and Europe. -
A Moral Persuasion: the Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013
A MORAL PERSUASION: THE NAZI-LOOTED ART RECOVERIES OF THE MAX STERN ART RESTITUTION PROJECT, 2002-2013 by Sara J. Angel A thesis submitted in conformity with the requirements for the degree of PhD Graduate Department Art University of Toronto © Copyright by Sara J. Angel 2017 PhD Abstract A Moral Persuasion: The Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013 Sara J. Angel Department of Art University of Toronto Year of convocation: 2017 In 1937, under Gestapo orders, the Nazis forced the Düsseldorf-born Jewish art dealer Max Stern to sell over 200 of his family’s paintings at Lempertz, a Cologne-based auction house. Stern kept this fact a secret for the rest of his life despite escaping from Europe to Montreal, Canada, where he settled and became one of the country’s leading art dealers by the mid-twentieth century. A decade after Stern’s death in 1987, his heirs (McGill University, Concordia University, and The Hebrew University of Jerusalem) discovered the details of what he had lost, and how in the post-war years Stern travelled to Germany in an attempt to reclaim his art. To honour the memory of Max Stern, they founded the Montreal- based Max Stern Art Restitution Project in 2002, dedicated to regaining ownership of his art and to the study of Holocaust-era plunder and recovery. This dissertation presents the histories and circumstances of the first twelve paintings claimed by the organization in the context of the broader history of Nazi-looted art between 1933-2012. Organized into thematic chapters, the dissertation documents how, by following a carefully devised approach of moral persuasion that combines practices like publicity, provenance studies, law enforcement, and legal precedents, the Max Stern Art Restitution Project set international precedents in the return of cultural property. -
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Chapter I: Introduction Throughout history, there have been sporadic pockets or concentrations of intense intellectual activity around the globe. From Athens to Vienna, cities have often been associated with the historical eras in which they excelled. For example, the 5th century BC dramatists in Greece such as Aeschylus, Sophocles and Euripides helped to make Athens a leader in artistic creation during its prime. Vienna, the European capital of the music world during the 18th century, was a center of artistic creativity that included composers such as Mozart and Haydn. During the 1920s, the Weimar Republic held the distinction of being the epicenter of human thought and art, with Berlin firmly at the heart of this activity. A few of the familiar names connected to this era in German history are Thomas Mann, Albert Einstein, Theodor Adorno, Wassily Kandinsky, Lyonel Feininger, Fritz Lang, and F.W. Murnau. In addition to these individuals, many artistic and intellectual schools such as German Expressionism, the Frankfurt School, the Bauhaus, and “Der Sturm” are associated with the Weimar Republic. Socially, the period represents an equally intense atmosphere. The Weimar Republic thrived on entertainment, clubs, and night-life in general. Berlin was at the forefront of urban entertainment in Germany, rivaling the other major cities of the Western world. The nightscape of Berlin was marked by lighted signs advertising small cabaret clubs and lavish musicals. However, the streets were also lined with disabled war veterans, prostitutes, and businessmen alike, reflecting an increase of prostitution, debauchery and crime of which all are in some way connected to the unbelievable inflation that permeated all layers of social, cultural and political life in Weimar Germany during the Republic’s first few years. -
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Representations of Hybridity: Science, Techne and the Human in the Works of Alberto Savinio By Nicole Torian Gercke B.A., Dartmouth College, 1998 M.A., Middlebury College, 2008 Dissertation Submitted in partial fulfillment of the requirements for Degree of Doctor of Philosophy in the Department of Italian Studies at Brown University PROVIDENCE, RHODE ISLAND MAY 2015 © Copyright 2015 by Nicole Torian Gercke ii This dissertation by Nicole Gercke is accepted in its present form by the Department of Italian Studies as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date ___________ ______________________________________ Massimo Riva, Advisor Recommended to the Graduate Council Date ____________ ______________________________________ Suzanne Stewart-Steinberg, Reader Date ____________ ______________________________________ Keala Jewell, Reader Approved by the Graduate Council Date ____________ ______________________________________ Peter Weber, Dean of the Graduate School iii CURRICULUM VITAE Nicole Gercke was born in Charlottesville, Virginia, on August 17, 1976. She earned her Bachelor of Arts in Classics, with a minor in Studio Art from Dartmouth College in 1998. She taught English in Italy for four years before returning to pursue a Masters of Arts in Italian Studies from Middlebury College, which was awarded in 2008. iv ACKNOWLEDGEMENTS I would like to thank wholeheartedly all of the faculty and my colleagues in the Italian Studies department and those friends and family, near and far, who through all these years have supported me, believed in me, challenged me to think critically, inspired me with their creativity and dedication, made me laugh and kept my eyes open to the world around me. My deepest love and gratitude to you all. -
Joint Exhibition of Giorgio De Chirico and Giulio Paolini Opening October 2016 at Center for Italian Modern Art
JOINT EXHIBITION OF GIORGIO DE CHIRICO AND GIULIO PAOLINI OPENING OCTOBER 2016 AT CENTER FOR ITALIAN MODERN ART CIMA’S 2016–2017 Season Reveals Unexplored Ties Between the Metaphysical Master and the Conceptual Artist, Including Major Works by de Chirico Not Seen in U.S. in 50 Years and Installation, Sculptures, and New Works on Paper by Paolini From Left to Right: Giorgio de Chirico, Le Muse Inquietanti, 1918. © 2016 Artists Rights Society (ARS), New York / SIAE, Rome. Giulio Paolini, Mimesi, 1975. Collection Fondazione Giulio e Anna Paolini, Turin (Italy). © Giulio Paolini. Photo Paul Maenz. New York, NY (October 1, 2016)—Beginning this October, the Center for Italian Modern Art (CIMA) presents a new exhibition exploring the direct ties between two influential Italian artists, born in different centuries but characterized by deep affinities: the founder of Metaphysical painting, Giorgio de Chirico (1888–1978), and leading conceptual artist Giulio Paolini (b. 1940). The exhibition brings the artists together in conversation for the first time, with highlights including a new series of works on paper by Paolini created especially for this exhibition and several Metaphysical masterpieces by de Chirico that have not been on view in the U.S. in half a century. By juxtaposing seminal works by both artists, CIMA’s 2016– 17 season offers a new appreciation of de Chirico’s art and its lasting relevance for artistic movements throughout the 20th and 21st centuries. On view October 14, 2016 through June 24, 2017, Giorgio de Chirico – Giulio Paolini / Giulio Paolini – Giorgio de Chirico is the fourth annual installation mounted by CIMA, which promotes public appreciation for and new scholarship in 20th-century Italian art.