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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to pain, less deaf to joy than this painting, which apparently retreats to the margins of life and interests itself, withdrawn, in dusty kitchen cupboards.”3 In order to further remove Morandi from the 1. -
A British Reflection: the Relationship Between Dante's Comedy and The
A British Reflection: the Relationship between Dante’s Comedy and the Italian Fascist Movement and Regime during the 1920s and 1930s with references to the Risorgimento. Keon Esky A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy, Faculty of Arts and Social Sciences. University of Sydney 2016 KEON ESKY Fig. 1 Raffaello Sanzio, ‘La Disputa’ (detail) 1510-11, Fresco - Stanza della Segnatura, Palazzi Pontifici, Vatican. KEON ESKY ii I dedicate this thesis to my late father who would have wanted me to embark on such a journey, and to my partner who with patience and love has never stopped believing that I could do it. KEON ESKY iii ACKNOWLEDGEMENTS This thesis owes a debt of gratitude to many people in many different countries, and indeed continents. They have all contributed in various measures to the completion of this endeavour. However, this study is deeply indebted first and foremost to my supervisor Dr. Francesco Borghesi. Without his assistance throughout these many years, this thesis would not have been possible. For his support, patience, motivation, and vast knowledge I shall be forever thankful. He truly was my Virgil. Besides my supervisor, I would like to thank the whole Department of Italian Studies at the University of Sydney, who have patiently worked with me and assisted me when I needed it. My sincere thanks go to Dr. Rubino and the rest of the committees that in the years have formed the panel for the Annual Reviews for their insightful comments and encouragement, but equally for their firm questioning, which helped me widening the scope of my research and accept other perspectives. -
Hitparade 2009
Die Top 1000 der SWR1 HörerInnen HITPARADE 2009 Platz Titel Interpret 1 Bohemian rhapsody Queen 2 Stairway to heaven Led Zeppelin 3 Music John Miles 4 Hotel California Eagles 5 Child in time Deep Purple 6 Brothers in arms Dire Straits 7 Dancing queen Abba 8 Wish you were here Pink Floyd 9 Let it be Beatles 10 Smoke on the water Deep Purple 11 (I can't get no) Satisfaction Rolling Stones 12 Yesterday Beatles 13 Nothing else matters Metallica 14 Hey Jude Beatles 15 Summer of '69 Bryan Adams 16 A whiter shade of pale Procol Harum 17 Thank you for the music Abba 18 Another brick in the wall Pink Floyd 19 Verdamp lang her BAP 20 Hymn Barclay James Harvest 21 Imagine John Lennon 22 Highway to hell AC/DC 23 Whole lotta love Led Zeppelin 24 Hells bells AC/DC 25 Bridge over troubled water Simon & Garfunkel 26 In the ghetto Elvis Presley 27 The carpet crawl (1974) Genesis 28 Wind of change Scorpions 29 Ich war noch niemals in New York Udo Jürgens 30 Sultans of swing Dire Straits 31 Earth song Michael Jackson 32 Chiquitita Abba 33 Am Fenster City 34 I want to break free Queen 35 Lady in black Uriah Heep 36 Locomotive breath Jethro Tull 37 I have a dream Abba 38 We are the champions Queen 39 In the air tonight Phil Collins 40 We will rock you Queen 41 The winner takes it all Abba 42 Shine on you crazy diamond Pink Floyd 43 Fernando Abba 44 Nights in white satin Moody Blues 45 Africa Toto 46 Thriller Michael Jackson 47 The Lady in red Chris DeBurgh 48 The rose Bette Midler 49 Unchained melody Righteous Brothers 50 Sailing Rod Stewart 51 Loch Lomond -
Gce History of Art Major Modern Art Movements
FACTFILE: GCE HISTORY OF ART MAJOR MODERN ART MOVEMENTS Major Modern Art Movements Key words Overview New types of art; collage, assemblage, kinetic, The range of Major Modern Art Movements is photography, land art, earthworks, performance art. extensive. There are over 100 known art movements and information on a selected range of the better Use of new materials; found objects, ephemeral known art movements in modern times is provided materials, junk, readymades and everyday items. below. The influence of one art movement upon Expressive use of colour particularly in; another can be seen in the definitions as twentieth Impressionism, Post Impressionism, Fauvism, century art which became known as a time of ‘isms’. Cubism, Expressionism, and colour field painting. New Techniques; Pointilism, automatic drawing, frottage, action painting, Pop Art, Neo-Impressionism, Synthesism, Kinetic Art, Neo-Dada and Op Art. 1 FACTFILE: GCE HISTORY OF ART / MAJOR MODERN ART MOVEMENTS The Making of Modern Art The Nine most influential Art Movements to impact Cubism (fl. 1908–14) on Modern Art; Primarily practised in painting and originating (1) Impressionism; in Paris c.1907, Cubism saw artists employing (2) Fauvism; an analytic vision based on fragmentation and multiple viewpoints. It was like a deconstructing of (3) Cubism; the subject and came as a rejection of Renaissance- (4) Futurism; inspired linear perspective and rounded volumes. The two main artists practising Cubism were Pablo (5) Expressionism; Picasso and Georges Braque, in two variants (6) Dada; ‘Analytical Cubism’ and ‘Synthetic Cubism’. This movement was to influence abstract art for the (7) Surrealism; next 50 years with the emergence of the flat (8) Abstract Expressionism; picture plane and an alternative to conventional perspective. -
Italian Painting in Between the Wars at MAC USP
MODERNIDADE LATINA Os Italianos e os Centros do Modernismo Latino-americano Classicism, Realism, Avant-Garde: Italian Painting In Between The Wars At MAC USP Ana Gonçalves Magalhães This paper is an extended version of that1 presented during the seminar in April 2013 and aims to reevaluate certain points considered fundamental to the research conducted up to the moment on the highly significant collection of Italian painting from the 1920s/40s at MAC USP. First of all, we shall search to contextualize the relations between Italy and Brazil during the modernist period. Secondly, we will reassess the place Italian modern art occupied on the interna- tional scene between the wars and immediately after the World War II —when the collection in question was formed. Lastly, we will reconsider the works assem- bled by São Paulo’s first museum of modern art (which now belong to MAC USP). With this research we have taken up anew a front begun by the museum’s first director, Walter Zanini, who went on to publish the first systematic study on Brazilian art during the 1930s and 40s, in which he sought to draw out this relationship with the Italian artistic milieu. His book, published in 1993, came out at a time when Brazilian art historiography was in the middle of some important studies on modernism in Brazil and its relationship with the Italian artistic milieu, works such as Annateresa Fabris’ 1994 Futurismo Paulista, on how Futurism was received in Brazil, and Tadeu Chiarelli’s first articles on the relationship between the Italian Novecento and the São Paulo painters. -
Sretenovic Dejan Red Horizon
Dejan Sretenović RED HORIZON EDITION Red Publications Dejan Sretenović RED HORIZON AVANT-GARDE AND REVOLUTION IN YUGOSLAVIA 1919–1932 kuda.org NOVI SAD, 2020 The Social Revolution in Yugoslavia is the only thing that can bring about the catharsis of our people and of all the immorality of our political liberation. Oh, sacred struggle between the left and the right, on This Day and on the Day of Judgment, I stand on the far left, the very far left. Be‑ cause, only a terrible cry against Nonsense can accelerate the whisper of a new Sense. It was with this paragraph that August Cesarec ended his manifesto ‘Two Orientations’, published in the second issue of the “bimonthly for all cultural problems” Plamen (Zagreb, 1919; 15 issues in total), which he co‑edited with Miroslav Krleža. With a strong dose of revolutionary euphoria and ex‑ pressionistic messianic pathos, the manifesto demonstrated the ideational and political platform of the magazine, founded by the two avant‑garde writers from Zagreb, activists of the left wing of the Social Democratic Party of Croatia, after the October Revolution and the First World War. It was the struggle between the two orientations, the world social revolution led by Bolshevik Russia on the one hand, and the world of bourgeois counter‑revolution led by the Entente Forces on the other, that was for Cesarec pivot‑ al in determining the future of Europe and mankind, and therefore also of the newly founded Kingdom of Serbs, Cro‑ ats and Slovenes (Kingdom of SCS), which had allied itself with the counter‑revolutionary bloc. -
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. -
Neue Sachlichkeit, Metaphysical Painting, and Leftist Visions of Labor in 1920S Weimar
27 Superstructure: Neue Sachlichkeit, Metaphysical Painting, and Leftist Visions of Labor in 1920s Weimar Ara H. Merjian Two figures stand barefoot on opposite sides of a narrow street, the plunging vectors of which converge upon a distant, central vanishing point [fig. 1]. Clad in red and green cloaks respectively, they seem, at first blush, trans- posed from some Biblical scene. The long hair and beard of the impassive figure in a red robe at left conjures up a time-traveling Christ, while the figure in green raises a hand to his pained face like some latter-day Adam har- ried from Eden. This Manichean face-off occurs not in a distant Biblical antiquity, however, but the contemporary moment of the painting’s making. Giuseppe Scalarini cre- ated the image in 1920 at the height of Italy’s Red Bienni- um: a violent conflagration between left and right which reached the dimensions of civil war in scale and intensity. A pair of institutional entities – and their respective flags – stand here in an embodiment of that conflagration. The local Socialist Party headquarters of some provincial town fig. 1 G. Scalarini, Luce e ombra, 1920 squares off against the offices of the Christian-democratic oriented Partito Popolare – a party even- tually riven by pro- and anti-Fascist elements following the March on Rome. 1919 had seen the Partito Popolare debut to great success, gaining twenty percent of deputies in Italy’s new electoral system – bested only by the Socialists.1 The latter would find themselves increasingly targeted by Mussolini’s Blackshirts, with the collective occupation of factories matched by widespread Black- shirt violence against Socialist offices across the country. -
Jenny Ponzo Religious Narratives in Italian Literature After the Second Vatican Council Religion and Reason
Jenny Ponzo Religious Narratives in Italian Literature after the Second Vatican Council Religion and Reason Founded by Jacques Waardenberg Edited by Gustavo Benavides, Michael Strausberg, and Ann Taves Volume 59 Semiotics of Religion Edited by Massimo Leone, Fabio Rambelli, and Robert Yelle Volume 2 Jenny Ponzo Religious Narratives in Italian Literature after the Second Vatican Council A Semiotic Analysis ISBN 978-3-11-049984-1 e-ISBN (PDF) 978-3-11-049783-0 e-ISBN (EPUB) 978-3-11-049602-4 Library of Congress Control Number 2018968025 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston Printing and binding: CPI books GmbH, Leck www.degruyter.com Acknowledgements This bookpresents astudyinitiated in 2014 when Iwas awarded an LMU Research Fellowship at theLudwig-Maximilians-University Munich (Germany). Iwishtothank this institution, Robert Yelle (chairofthe Interfaculty Programmefor theStudy of Religion,whereIwasaffiliated), and Angelika Mooser-Sainer forher administrative support. After the end of the LMU ResearchFellowship, Icontinued to work on this book in the frame of my project “NeMoSanctI – New Models of Sanctity in Italy (1960s-2010s),” which has receivedfunding from the European ResearchCouncil (ERC) underthe European Union’sHorizon 2020 research and innovation pro- gramme (grant agreement No. 757314). NeMoSanctI is hosted by the Department of Philosophy and Educational Sci- ences of the University of Turin. Aspecial thank youtoUgo Volli (former Depart- ment Dean for Research) and Donatella Mutti for their dedication in following and accompanying the first steps of the project at the Unversity of Turin. -
Uncannily Real Italian Painting of the 1920S 28 September 2018 – 13 January 2019 Opening: 27 September, 7 P.M
Press materials Uncannily Real Italian Painting of the 1920s 28 September 2018 – 13 January 2019 Opening: 27 September, 7 p.m. Content 1. Press release 2. Biographies – a selection 3. Wall texts 4. General information 5. Catalogue 6. Press images 7. Fact sheet Museum Folkwang Press Release Uncannily Real – a major special exhibition on Italian painting of the 1920s on display at Museum Folkwang from 28 September. Essen, 27.9.2018 – The exhibition Uncannily Real: Italian Painting of the 1920s presents more than 80 paintings from Realismo Magico. This artistic movement emerged in Italy in the wake of the First World War, parallel to Neue Sachlichkeit in Germany. Outstanding works by key protagonists such as Felice Casorati, Antonio Donghi and Ubaldo Oppi are featured alongside influential paintings by Giorgio de Chirico and Carlo Carrà. This represents the first comprehensive presentation of these works in Germany, allowing visitors to rediscover this strand of Modernism. After the experiences of the First World War, in Europe and beyond, many artists returned to a realistic form of representation, definitively abandoning Expressionism. Picking up on the metaphysical painting of Giorgio de Chirico and Carlo Carrà and the rappel à l’ordre (call for a return to order) issued by Parisian Neo-Classicism, the artists cause time to stand still in their paintings. They imbue their realistic depictions with dream-like, uncanny, at times disturbing elements. The paintings depict their subject matter clearly and precisely, while retaining a cryptic quality to their atmospheres and themes. The result is the production of evocative works of outstanding painterly quality, often in dazzling colours. -
The Collected Poems of Giorgio De Chirico
195 THE COLLECTED POEMS OF GIORGIO DE CHIRICO I Paris 1911-1915 1. Hopes1 Te astronomer poets are exuberant. Te day is radiant the public square flled with sunlight. Tey are leaning against the veranda. Music and love. Te incredibly beautiful woman. I would sacrifce my life for her velvet eyes. A painter has painted a huge red smokestack Tat a poet adores like a divinity. I remember that night of springtime and cadavers. Te river was carrying gravestones that have disappeared. Who still wants to live? Promises are more beautiful. So many fags are fying from the railroad station. Provided the clock does not stop A government minister is supposed to arrive. He is intelligent and mild he is smiling. He comprehends everything and at night by the glow of a smoking lamp While the warrior of stone dozes on the dark public square He writes sad passionate love letters. 1 Original title, Espoirs, published in “La révolution surréaliste”, n. 5, Paris 15 October 1925, p. 6. Te Éluard-Picasso Manuscripts (1911-1915), including theoretical writings and poems written in French and 29 drawings, constitute an essential testimony of de Chirico’s early theoretical and artistic considerations. (See J. de Sanna, Giorgio de Chirico - Disegno, Electa, Milan 2004, pp. 12-15). De Chirico arrived in Paris, from Florence, on 14 July 1911 and remained in the capital until late May 1915 when, called to arms, he returned to Italy with his brother Alberto Savinio. Initially in Paul Éluard’s collection, the manuscripts were later acquired by Picasso. Today they are conserved in ‘Fonds Picasso’ at Musée National Picasso, Paris. -
Metaphysical Painting" by Smarty
www.smartymagazine.com "Metaphysical painting" by smArty >>PARIS "The abolition of meaning in art was not invented by us painters. Let's be fair, this discovery came to the Polish Nietzsche, and if the Frenchman Rimbaud was the first to apply it in poetry, it was yours truly who applied it for the first time in painting. » (1919). This is how Giorgio de Chirico defined his metaphysical art, whose singularity and novelty struck Apollinaire immediately, as early as 1913. An Italian painter from an old family in Constantinople, perfectly cosmopolitan, Chirico was one of the great figures of the Paul Guillaume gallery, which represented him until the 1930s. And the well-known episode of André Breton discovering in the gallery window the painting Le Revenant (The Child's Brain), which crystallized his idea of a metaphysical painting, or the homage that Picasso painted in 1915 through his painting, The Man Sitting with the Bowler Hat, remind us of the importance of this artist for modern art. SEE THE PRIVATE VISIT Today, although his works do not appear in the collections of the Musée de l'Orangerie, it seemed important to return to the history of this meeting between the artist and Paris, between the painter and Apollinaire, and Paul Guillaume, during his first stay in Paris, between 1911 and 1915, when he conceived and painted the very heart of his metaphysical work. Born in Greece and trained in the melting pot of classical culture and late German Romanticism, Chirico developed the foundations of a new artistic conception alongside his younger brother Alberto Savinio.