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The J. Paul Getty Trust 1200 Getty Center Drive, Suite 400 Tel 310 440 7360 Commu nications Department Los Angeles, California 90049-1681 Fax 310 440 7722 www.getty.edu [email protected] NEWS FROM THE GETTY AVAILABLE IMAGES A Tumultuous Assembly: Visual Poems of the Italian Futurists (August 1, 2006–January 7, 2007) BÏF§ZF+18 Simultaneità e chimismi lirici (A§Lot + 18 Simultaneity and Lyrical Chemistry) Florence, 1915 Ardengo Soffici (Italian, 1876-1944) Relief printing with some hand-coloring 130/300 © Eredi Soffici, Italy “Tipografia” (“Typography”) Ardengo Soffici, BÏF§ZF+18 (Florence, 1915), p. 67 Facsimile 1568-453 © Eredi Soffici, Italy “Une assemblée tumultueuse. Sensibilité numérique” (“A Tumultuous Assembly. Numerical Sensibility”) Filippo Tommaso Marinetti (Italian, 1876-1944) Les mots en liberté futuristes (Milan, 1919), p. 107 87-B6595 © 2006 Artists Rights Society (ARS), New York / SIAE, Rome “Danza Serpentina” ("Serpentine Dance") Gino Severini (Italian, 1883-1966) Lacerba (July 1, 1914), vol. 2, no. 13 , p. 202 86-S1483 © 2006 Artists Rights Society (ARS), New York / ADAGP, Paris -more- Page 2 “Deretani di Case” ("Backsides of Houses") Vincenzo Volt (Italian, 1888-1927) Archi voltaici (Milan, 1916), p. 39 90-B23637 “Après la Marne, Joffre visita le front en auto” (After the Marne, Joffre Visited the Front by Car") 1915 Filippo Tommaso Marinetti (Italian, 1876-1944) Les mots en liberté futuristes (Milan, 1919), p. 99 87-B6595 © 2006 Artists Rights Society (ARS), New York / SIAE, Rome Zang tumb tuuum Adrianopoli ottobre 1912 (Zang Tumb Tuuum: Adrianople October 1912: Words-in-Freedom) Milan, 1914 Filippo Tommaso Marinetti (Italian, 1876-1944) 85-B17320 © 2006 Artists Rights Society (ARS), New York / SIAE, Rome “Caffé Arcobaleno Liquido” ("Liquid Rainbow Café") Angelo Rognoni (Italian, 1896-1957) Fabbrica + Treno (1916), p. 2 Ink on paper 850150 © Eredi Rognoni, Italy -more- Page 3 “Provincia” ("Small Town") Vincenzo Volt (Italian, 1888-1927) Archi Voltaici (Milan, 1916), p. 37 90-B23637 “Al Buffet della Stazione” ("At the Station Cafeteria") Ardengo Soffici (Italian, 1879-1964) Lacerba (August 1, 1914), vol.2, no. 15, p. 236 © Eredi Soffici, Italy “Sciopero” ("Strike") Angelo Rognoni (Italian, 1896-1957) “Fabbrica + Treno” (1916) [no p. nos.] Black and red ink on paper 850150 © Eredi Rognoni, Italy “Treno-Aurora” ("Dawn Train") Ardengo Soffici, BÏF§ZF+18 (Florence, 1915), p. 59 Facsimile 1568-453 © Eredi Soffici, Italy .

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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.
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Elder Cubismfuturism
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