DOCSLIB.ORG

The Italian Paesaggio 2. Part

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Italian Paesaggio 2. Part The Italian Paesaggio 2. Part Jukka Jokilehto, 2018 Education & Policies 2 Gustavo Giovannoni (Rome, 1873-1947) • Engineer, historian as well as architect • Professor of architecture at Regia Scuola di Applicazione per Ingegneri, 1927-1935 • Promoter of the first School of Architecture in Rome, where he taught documentation and restoration of monuments; • Founder of the Institute for Roman Studies 3 Roberto Pane (Taranto 1897-1987) • Architectural historian and architect • Graduate in architecture (Giovannoni) • Director of the School of Architecture, Naples • One of the founders of the modern conservation theory, “Restauro critico” • Restoration should be conceived in a new dimension, including a creative element, and, if well done, could itself become a work of art (Che il restauro è esso stesso un’opera d’arte sui generis . .). 4 Guglielmo De Angelis d’Ossat (Rome, 1907-1992) • Engineer, architect, architectural historian • 1931-33, assistant to Gustavo Giovannoni • 1933, School of Archaeology, Athens • 1947-1960, Director General of the Built Heritage (Antichità e Belle Arti) • Founder of the School of Restoration, at the University of Rome, in collaboration with ICCROM (1965-1970s) 5 Giulio Carlo Argan (Turin, 1909-1992) • Art historian and politician • 1930, worked for the National Antiquity and Arts • 1938, contributed to creation of Istituto Centrale del Restauro (ICR) • 1976-1979, Mayor of Rome; establishment of special office for the urban conservation of the historic centre of Rome • Storia dell'arte italiana (1968) • Storia dell’arte come storia della città (1983) 6 Cesare Brandi (Siena, 1906 – 1988) • Art critic and historian; graduated in law • 1939-1959, Founding director of the Italian State Institute of Restoration (Istituto Centrale del Restauro) ✓ Teoria del restauro (1963), ✓ Le due vie (1966), ✓ "Dialoghi di Elicona": Carmine o della pittura (1945), Arcadio o della Scultura (1956), Eliante o dell'Architettura (1956), Celso o della Poesia (1957) • 1883, Carta del Restauro (Camillo Boito), 3rd congress of Italian engineers and architects; • 1932, Norms for the restoration of monuments, Ministry of National Education; • the interventions on built artistic and historic Restoration documents are no less valid than those preserved in museums and archives, permitting Guidelines structural studies able to throw new light on elements of importance for the history of art and building; • convinced therefore that no reason of haste, of practical necessity or personal desire can justify that such activities should not correspond to a well-defined series of criteria […] • Nel restauro dei monumenti e delle opere d'arte è tassativamente da escludersi ogni opera di completamento o di ripristino o comunque 1'aggiunta di elementi che non siano strettamente necessari per la stabilità, la conservazione e la comprensione 1938, Istruzioni dell'opera. • L'eventuale aggiunta o sostituzione consentita dall'enunciato per il Restauro precedente, deve essere contenuta nei limiti della più assoluta semplicità ed eseguita con materiali e tecniche che ne attestino la modernità ed evitino, con 1'eliminazione di ogni ripresa decorativa dei Monumenti o figurativa, ogni possibile confusione con 1'antico. Ministero della Pubblica • Le integrazioni e le varianti anticamente subite da un monumento o Istruzione (Ministero da un'opera d'arte, quando abbiano per se stesse interesse artistico dell'Educazione Nazionale) o costituiscono un documento significative per la storia dell'operaio, devono essere conservate nel restauro, che in nessun caso dovrà ispirarsi ad astratti concetti di unità stilistica o tradurre in pratica ipotesi sulla forma originaria dell'opera, anche se appoggiate a testimonianze figurative o letterarie. Post-war Restoration Tempio Malatestiano, Rimini 10 ICCROM • Rome Centre – ICCROM (1956; 1959) Informazione, Ricerca, Consulenza, Formazione • Jan Karel VAN DER HAAGEN (1902-1966), UNESCO, • Guglielmo DE ANGELIS D’OSSAT (1907-1992), Ministero • Paul COREMANS (1908-1965), IRPA • Cesare BRANDI (1906-1988), ICR • Frédéric GYSIN, ICOM. • Harold James PLENDERLEITH (1898-1997), • Paul PHILIPPOT (1925-2016), • Sir Bernard Melchior FEILDEN (1919-2008) • Elaboration of theory: the fundamental principles of a modern conception of restoration based on methods of approach, theoretically established by reliable authors • The diffusion of knowledge of a rigorous conception of conservation and its methodology covers a very important part of the whole teaching of the Centre. 1960, Carta di Gubbio ANCSA • Principi sulla salvaguardia ed il risanamento dei centri storici. • L’estensione a scala nazionale del problema trattato è stata unanimemente riconosciuta, insieme alla necessità di un’urgente ricognizione e classificazione preliminare dei centri storici con la individuazione delle zone da salvaguardare e risanare. • Si afferma la fondamentale e imprescindibile necessità di considerare tali operazioni come premessa allo stesso sviluppo della città moderna e quindi la necessità che esse facciano parte dei Piani Regolatori comunali, come una delle fasi essenziali nella programmazione della loro attuazione. 12 Conservation Theory 13 Human Creativity vs. Culture Cesare Brandi • In contrast with certain trends, tending to integrate works of art in their general socio- economic context, Cesare Brandi sustains the specificity of a work of art. • He claims that the work of art is the result of a unique, creative process. 14 M. Heidegger & Natural object; C. Brandi There is no work Tool / Instrument: The scope of design Walking is outside the object; “common product” Work of art: The scope is in the work of art itself; “special product” 15 Perception by artist Cesare Brandi in “Carmine” • Look, Carmine, if you approach a window and watch the panorama, an intuition of that panorama takes place quite suddenly … • But, if you are a painter and, with the glance you take at the panorama, you feel a particular interest in that landscape, there occurs an imperceptible change inside you, and yet fundamental, that can give a distant hint of what is going to come; when you adjust the lenses of the binoculars, the landscape now leaps at you with new clarity. • This second vision, that really can be called phenomenal, is not identical with the first - existential - vision, that you received, nor does it destroy it, but will be like catching an instance and prolonging it in time: you will have arrested something … A. Gallen-Kallela 16 Authenticity achieved through Creative Process C. Brandi Object in existential reality Work of Art: Image revealed in form “Phenomenon that In the artist’s mind is not phenomenon” as ‘pure reality’ Immaterial + Material Work of art given “material reality”; Independent life 17 Paul Philippot (Former Director of ICCROM) • Indeed, whatever period the work of art was created in, it gives itself to us hic et nunc, in the absolute present of perception. It lacks a reality of its own until it is recognised by a consciousness, and this recognition is not the result of a judgment arising from an analysis, but the identification of a specificity within the perception itself and the point of departure for the historian’s study. 18 Gunnar Berndtson Critical Process of Restoration Transmission to future generations Work of art in its Singularity of the work of art as a physical consistency and Special Product in its twofold aesthetic of human creativity and historical polarity Methodological moment of recognition of the work of art 19 Restoration of works of art • Restoration consists of (establishes) the methodological moment of the recognition of the work of art, in its physical consistency and in its twofold aesthetic and historical polarity, in view of its transmission to the future. 20 Restoration work ❖One only restores the material of the work of art. ❖The specificity of the work of art, compared to other human products, does not depend on its material consistency nor on its twofold historicity, but on its artistic quality, of which, once lost, only remains a relict. 21 Aim of restoration • Restoration should aim at the re- establishment of the potential unity of the work of art so far as this is possible without committing an artistic or historical fake, and without cancelling any traces of the passage of the work of art in time. 22 Whole of the work of art • The unity of the work of art refers to the ‘whole’ and not the ‘total’; e.g., in a mosaic, the total of the pieces does not form the whole; • The image is really and only as it appears. (L’immagine è veramente e solamente quello che appare. Brandi, 1963:43) 23 Limits of Intervention • Unity of whole vs. organic unity; • Analogy? • The limits of an intervention are defined in relation to the potential unity and authentic records of the historic (original) condition; 24 Inner and External Spatiality • Built-in spatial quality in a work of art; • The work of art in relation to external space; • Relation of painted surfaces and sculptural décor within architecture; • Relation of historic building within its physical context; 25 Historical Time Line (‘Tempo storico’) Period restoration: Colonial Williamsburg Reconstruction of Warsaw Duration and changes Recognition at First Creation over historic time Present time Historical Time Line 26 Historical stratigraphy 27 • In order to be able to provide for the adequate safeguarding of the urban organism concerned, considering its continuity over time and the functioning of the civic and modern life therein, it is necessary, first of all,
Load more

Recommended publications
  • I Tanti Motivi Di Quest'elezione «Ho Fiducia In
    PAG. io / roma - regione l'Unità / venerdì 28 settembre 1979 Luigi Petroselli è da ieri sera, dopo il dibattito e il voto del consiglio comunale, il nuovo sindaco di Roma I tanti motivi di quest'elezione «Ho fiducia in questa città Il segretario regionale del PCI, che succede a Giulio Carlo Argan, ha ricevuto viva, democratica, aperta» 39 suffragi - La seduta è durata per tutta la giornata - Falomi: una sostanziale Il discorso di saluto, dopo reiezione, del compagno Petroselli - « Si risana continuità - La posizione vecchia della DC - Gli interventi di Severi, Pala e Mammì Roma solo affrontando i problemi degli emarginati, dei giovani, degli anziani » « Petroselli 39 voti, bianche luigi Severi — capogruppo so­ Subito dopo l'elezione, il amicizia non fa velo al dove­ renti e quotidiane di resa al gli uomini, le istituzioni, la 20... *: quando il prosindaco cialista — e di Antonio Pala compagno Luigi Petrosel­ re che io sento oggi di ren­ peggio, alla prepotenza e ai società. Btnzoni legge i risultati della — capogruppo socialdemocra­ li. ha rivolto al consiglio dere omaggio, in qualità di veleni di quanti si adoperano Sta a noi dimostrare che la votazione e proclama sinda­ tico —. Continuità che certo comunale un discorso di sindaco di Roma, a Giulio di sfruttarla e di piegarla ai città è anche dei giovani e co il compagno Luigi Petro­ non vuol dire piatta soddisfa­ saluto del quale pubbli­ Carlo Argan come ad un cit­ propri fini particolari ma in­ selli la gente torna ad ap­ zione per l'esistente. In tutti per i giovani che aspirano a chiamo ampi stralci.
    [Show full text]
  • Renaissance Art and Architecture
    Renaissance Art and Architecture from the libraries of Professor Craig Hugh Smyth late Director of the Institute of Fine Arts, New York University; Director, I Tatti, Florence; Ph.D., Princeton University & Professor Robert Munman Associate Professor Emeritus of the University of Illinois; Ph.D., Harvard University 2552 titles in circa 3000 physical volumes Craig Hugh Smyth Craig Hugh Smyth, 91, Dies; Renaissance Art Historian By ROJA HEYDARPOUR Published: January 1, 2007 Craig Hugh Smyth, an art historian who drew attention to the importance of conservation and the recovery of purloined art and cultural objects, died on Dec. 22 in Englewood, N.J. He was 91 and lived in Cresskill, N.J. The New York Times, 1964 Craig Hugh Smyth The cause was a heart attack, his daughter, Alexandra, said. Mr. Smyth led the first academic program in conservation in the United States in 1960 as the director of the Institute of Fine Arts at New York University. Long before he began his academic career, he worked in the recovery of stolen art. After the defeat of Germany in World War II, Mr. Smyth was made director of the Munich Central Collecting Point, set up by the Allies for works that they retrieved. There, he received art and cultural relics confiscated by the Nazis, cared for them and tried to return them to their owners or their countries of origin. He served as a lieutenant in the United States Naval Reserve during the war, and the art job was part of his military service. Upon returning from Germany in 1946, he lectured at the Frick Collection and, in 1949, was awarded a Fulbright research fellowship, which took him to Florence, Italy.
    [Show full text]
  • Roma Dopo L'unita' 4
    ROMA DOPO L’UNITA’ 4 NUOVI QUARTIERI DAL DOPOGUERRA AGLI ANNI ‘60 1945-1960 NEL DOPOGUERRA ROMA SOGNA DI DIVENTARE UNA GRANDE CITTA’ MODERNA, IL BOOM ECONOMICO E LE OLIMPIADI DEL 1960 SEGNANO UNA SVOLTA INTRODUZIONE Finita la guerra Roma dovette affrontare il problema della ricostruzione in misura meno drammatica di altre città italiane ed europee. A parte il quartiere di San Lorenzo, duramente colpito da due bombardamenti, e le infrastrutture viarie e ferroviarie da ricostruire, la città non ebbe altri gravi danni. Si riscopre il valore sociale dell’architettura, si cerca di conciliare i principi generali con gli scarsi mezzi economici di quegli anni. Mario Ridolfi (l’autore del palazzo delle Poste a piazza Bologna e del quartiere Ina Casa Tiburtino), compila per il CNR, un Manuale dell’architetto in cui presenta una serie di soluzioni progettuali facilmente realizzabili. Nel 1945 nasce l’Apao, l’Associazione per l’Architettura Organica, che apprezza Wright e Aalto ma, contro un rigido funzionalismo, propone la libertà di ogni organismo architettonico. Nel 1949 la nascita dell’INA Casa, vedrà il sorgere di interi quartieri per i ceti popolari di un livello qualitativo alto. La speculazione privata la fa da padrona, tende a riempire tutti i vuoti possibili, e a costruire in tutte quelle zone periferiche dove il Comune deve portare i servizi essenziali. L’espansione più massiccia di intensivi investirà la Tiburtina, la Casilina, l’Appia e la Tuscolana. Prenestina e Casilina sono il regno delle costruzioni spontanee o meglio abusive di quegli italiani provenienti dal Sud, dall’Abruzzo, dalle zone interne del Lazio, che giungono a Roma nella speranza di trovare un lavoro.
    [Show full text]
  • Cesare Brandi and Contemporary Art: Theory, Aesthetic and Restoration
    Cesare Brandi and contemporary art: theory, aesthetic and restoration. A tempestuous dialectic CARLOTA SANTABÁRBARA MORERA Translation by Valerie Magar Abstract Cesare Brandi's theory of restoration is conditioned by his philosophical foundation and his critical vision of art; therefore, in order to understand Brandi's thinking, it is imperative to know his conception of aesthetics and the relationship he established between art criticism and its fundamental philosophy, which underlies the basis of his concept of art and his approach to the restoration of the art of his time. Cesare Brandi experienced a remarkable evolution in his relationship with contemporary art, which initially was completely contrary to avant-garde and abstractionism due to the lack of formal representation or image. However, after he acquired more knowledge and with the awakening of his admiration for artists like Burri, he later found it possible to include abstraction and the absence of an image in the definition of what he considered art. Although his definition of restoration seems to be constrained to traditional art in terms of material fabric and image, his concept of restoration can be applied to contemporary art from the standpoint of a more flexible view of his ideas. Keywords: Contemporary art, restoration, art theory, patina, material. The concept of restoration for Cesare Brandi Cesare Brandi (1906-1986), restorer, historian and scholar of Italian art, whose thinking is the starting point and foundation of critical restoration, is undoubtedly one of
    [Show full text]
  • Baroque Music in Venice Sebastiano & Michelangelo Zaha Hadid in Italy Russell Page: Il Giardiniere Inglese RIVISTA Navigating Italian Wines 2017-2018
    Baroque Music in Venice Sebastiano & Michelangelo Zaha Hadid in Italy Russell Page: Il Giardiniere Inglese RIVISTA Navigating Italian Wines 2017-2018 The Magazine of Dear readers n this issue of Rivista we invite you to join us on a journey through Italy and take a leisurely stroll Ithrough the beautiful gardens created by Russell Page, the 20th century landscape gardener, marvel at the extraordinary buildings designed by the late Zaha Hadid and visit some of the best wine- producing regions in the country. No issue of Rivista would be complete without a mention of Venice and this time we celebrate the brilliance of the city through its baroque music, and in particular that of Monteverdi, as well as the invention of the comma by that great Venetian printer Manuzio, with special Vanessa Hall-Smith Linda Northern thanks to Gideon Todes for his accompanying cartoon. An uplifting episode from World War II is featured and concerns the story behind an image character, and of a recent book about Hemingway’s of the Madonna painted on a sack by an Italian links with Italy. As usual we also include summaries prisoner of war in Somalia. Rome played a central of all the talks given throughout the year. role in the work of Michelangelo and Sebastiano Grateful thanks are due to our contributors and to del Piombo, the focus of a major exhibition at the all those who have assisted with the production of National Gallery in 2017 which is reviewed at page this year’s Rivista. It’s always a voyage of discovery 20.
    [Show full text]
  • FONDAZIONE MEMOFONTE Studio Per L’Elaborazione Informatica Delle Fonti Storico-Artistiche
    STUDI DI MEMOFONTE Rivista on-line semestrale Numero 18/2017 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 redazionale Elena Miraglio, Martina Nastasi, Mara Portoghese Segreteria di redazione Fondazione Memofonte onlus, Lungarno Guicciardini 9r, 50125 Firenze [email protected] ISSN 2038-0488 INDICE G. COCO, Un inglese con la passione per i primitivi. Thomas Patch a p. 1 Firenze F. GONZÁLES MORENO, El Proyecto «Iconografía Textual del Quijote» p. 31 y las Ediciones Italianas del Don Quijote en la Colección Urbina-Cushing Library A. JAQUERO ESPARCIA, Liberalidad y nobleza de la pintura: p. 49 reminiscencias de la teoría artística italiana en la tratadística española del siglo XVIII D. LA MONICA, Torre Del Marzocco. Un contrasto tra Ministeri nel tardo p. 68 Ottocento M. CARTOLARI, 1939: i restauri alla mostra di Veronese nel panorama p. 81 della tutela nazionale e locale D. BRASCA, The nazi plunder in the Alpe Adria (1943-1945): a political p. 99 contention for the control of the cultural property jewish-owned A latere dei numeri 17, 2016 e Numero speciale, 2017 M. GOLDONI, Appunti e integrazioni circa provenienze ferraresi e bolognesi p. 108 entro le raccolte silografiche della Galleria Estense: Vittorio Baldini e Giacomo Monti R. CARNEVALI, Alcune precisazioni sulle matrici xilografiche del tipografo p. 137 Vittorio Baldini nella collezione della Galleria Estense di Modena ARTE & LINGUA M. BIFFI, Prime annotazioni sul lessico architettonico militare di Giacomo p.
    [Show full text]
  • Ratiocinium in the Architectural Practice of Giuseppe Terragni Arian
    Ratiocinium in the Architectural Practice of Giuseppe Terragni & its role in the relationship between architecture and the city during the modern movements in Italy Arian Korkuti Dissertation submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy In Architecture and Design Research Steven R. Thompson Paul F. Emmons Committee Co-Chairs Mark E. Schneider Marc J. Neveu William U. Galloway III 07/31/2020 Blacksburg, Virginia Keywords: logos, type, rational, spirit, form copyright © 2020 arian korkuti Ratiocinium in the Architectural Practice of Giuseppe Terragni & its role in the relationship between architecture and the city during the modern movements in Italy Arian Korkuti ABSTRACT The architectural practice of Giuseppe Terragni (1904 - 1943) takes place during the twentieth century modern social movements, as architecture and urban form follow a major shift in the political conditions, in Italy and beyond. This dissertation is a demonstration of the quest for the rational in the architectural practice of Giuseppe Terragni. Furthermore, it sorts out the role of Terragni’s practice in the dichotomous relationships between city and architecture as well as state and project. Initially, it is the obligation of this dissertation to address questions of principles, in order to build a plenum1 for the relationship between the city and architecture. It traces movements 1 Assembled, staged grounding from where the building erects. through translatio and transformatio of architectural impression, in form and type, and its meta2 in concinnitas,3 in terms of legacy, legitimacy,4 and the rational5 in idea.
    [Show full text]
  • ITALIAN MUSIC and FASCIST PROPAGANDA* In
    R. Illiano, M. Sala The politics of spectacle: Italian music and fascist propaganda UDK:329.17.019.51:78(450) 32.019.51:78 (450)“193/194“ DOI: 10.2298/MUZ120325010I Roberto Illiano, Massimiliano Sala Centro Studi Opera, Luigi Boccherini, Lucca [email protected] • [email protected] THE POLITICS OF SPECTACLE: ITALIAN MUSIC AND FASCIST PROPAGANDA* Abstract: Propaganda played a very important role during Fascism; the kind of propaganda used by Mussolini to build a totalitarian state was to a very large extent based on his own personality cult, on the myth of the leader. Despite the disastrous outcome of the Mussolini regime, the propaganda has outlived Mussolini himself. Cultivating the image therefore becomes an essential part of the mechanism of generating consensus, anticipating by more than half a century the politics of spectacle used today throughout the world. Keywords: Fascism, Propaganda, Race, Mussolini, Petrassi In Fascist Italy, propaganda was the most widely deployed means of imposing political consensus. The kind of propaganda used by Mussolini to build a totalitarian state was to a very large extent based on his own personality cult, on the myth of the leader. This meant that the positive attributes of the Duce were constantly celebrated in the press, on the radio, in books, in newsreels, and above all in schools. The dogma of infallibility bordered on idolatry, so much so that at a certain point even the Vatican took fright. Fascist propaganda, based on the fi gure of the charismatic leader, played a much more important role under Fascism than it did in other dictatorial regimes (see Cannistraro 1975; De Grazia 1975; Falasca Zamponi 2003).
    [Show full text]
  • Architecture and the Novel Under the Italian Fascist Regime
    Architecture and the Novel under the Italian Fascist Regime Francesca Billiani Laura Pennacchietti Architecture and the Novel under the Italian Fascist Regime Francesca Billiani • Laura Pennacchietti Architecture and the Novel under the Italian Fascist Regime Francesca Billiani Laura Pennacchietti School of Arts, Languages and Cultures School of Arts, Languages and Cultures University of Manchester University of Manchester Manchester, UK Manchester, UK ISBN 978-3-030-19427-7 ISBN 978-3-030-19428-4 (eBook) https://doi.org/10.1007/978-3-030-19428-4 © The Editor(s) (if applicable) and The Author(s) 2019. This book is an open access publication. Open Access This book is licensed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence and indicate if changes were made. The images or other third party material in this book are included in the book’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the book’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
    [Show full text]
  • Bibliography
    258 bibliography References for further study have been organized according to the chapter and sub-chapter headings and in chronological order to identify available primary source material, then the important foundation studies that followed, and finally the latest, most up-to-date publications offering, in most cases, exhaustive bibliography and illustrations. general texts (Electa, Milan). 1956 Lavagnino, Emilio, L’arte moderna dai neoclassici 1999 Fontana,Vincenzo, Profilo di architettura italiana ai contemporanei, Storia dell’Arte Classica e del Novecento (Marsilio,Venice). Italiana vol. 5 (Unione Tipografico,Turin). 1999 Zucconi, Guido, La città contesa, Dagli ingegneri 1960 Maltese, Corrado, Storia dell’arte in Italia, sanitari agli urbanisti (Jaca, Milan). 1785–1943 (Einaudi,Torino). 1964 De Fusco, Renato, L’idea di architettura, Storia chapter 5 della critica da Viollet-le-Duc a Persico architects of the avant-garde,1900s–1920s (Communità, Milan). 1909 Benelli, Sem, ed., L’Architettura di Giuseppe 1976 Dal Co, Francesco, and Manfredo Tafuri, Mancini, schizzi e progetti (Preiss Bestetti, Architettura contemporanea (Electa, Milan). Milan). 1978 De Guttry, Irene, Guida di Roma moderna dal 1916 Angelini, Luigi,“Concorsi d’architettura in 1870 ad oggi (De Luca, Rome). Italia,” in Emporium 43, no. 253: 47–57. 1981 De Seta, Cesare, L’architettura del Novecento 1957 Zevi, Bruno,“Come si arrese la prima (UTET,Turin). avanguardia italiana,” in Cronache di architettura 1982 De Seta, Cesare, Architetti italiani del Novecento 9: 957. (Laterza, Bari/Rome). 1973 Pevsner, Nikolaus, and James Richards, eds., 1984 Rossi, Pier Ostilio, Roma, Guida all’architettura The Anti Rationalists (Architectural Press, moderna 1909–1984 (Laterza, Bari/Rome). London).
    [Show full text]
  • Consiliature Del Comune Di Roma E Di Roma Capitale
    CONSILIATURE DEL COMUNE DI ROMA E DI ROMA CAPITALE NOVEMBRE 1944 – Soppressione del Governatorato di Roma e assoggettamento dell’Ente alla disciplina giuridica degli altri Comuni, con alcune eccezioni relative al controllo di merito sugli atti, demandato al Ministero dell’Interno. Fino allo svolgimento delle elezioni, il Sindaco e la Giunta municipale provvisoria – composta da dodici membri effettivi e sei supplenti e titolare anche delle funzioni del Consiglio Comunale – furono nominati dal Ministro dell’Interno (D.Lgs.Lgt. 17 novembre 1944, n. 426). ______________ giugno 1944 – Commissario governativo Roberto Bencivenga giugno 1944 – Sindaco (nominato) Filippo Andrea Doria Pamphili ELEZIONI SINDACO I) 1946 Salvatore Rebecchini 28 dicembre 1946 – Gestione Commissariale 1 II) 12 ottobre 1947 Salvatore Rebecchini III) 25 maggio 1952 Salvatore Rebecchini IV) 27 maggio 1956 Umberto Tupini – Urbano Cioccetti V) 6 novembre 1960 Urbano Cioccetti 10 luglio 1961 – Gestione Commissariale 2 VI) 10 giugno 1962 Glauco Della Porta – Amerigo Petrucci VII) 12 giugno 1966 Amerigo Petrucci – Rinaldo Santini – Clelio Darida VIII) 13 giugno 1971 Clelio Darida IX) 20 giugno 1976 Giulio Carlo Argan – Luigi Petroselli X) 21 giugno 1981 Luigi Petroselli – Ugo Vetere XI) 12 maggio 1985 Nicola Signorello – Pietro Giubilo 19 luglio 1989 – Gestione Commissariale 3 XII) 29 ottobre 1989 Franco Carraro 20 aprile 1993 – Gestione Commissariale 4 XIII) 21 novembre e 5 dicembre 1993 5 Francesco Rutelli XIV) 16 novembre 1997 Francesco Rutelli 29 gennaio 2001 – Gestione Commissariale 6 XV) 13 e 27 maggio 2001 Walter Veltroni XVI) 28-29 maggio 2006 Walter Veltroni 26 febbraio 2008 – Gestione Commissariale 7 XVII) 13-14 e 27-28 aprile 2008 8 Gianni Alemanno XVIII) 26-27 maggio e 9-10 giugno 2013 Ignazio Marino 30 ottobre 2015 – Gestione Commissariale 9 XIX) 5 e 19 giugno 2016 Virginia Raggi __________ 1 Affidata a Mario De Cesare.
    [Show full text]
  • Indici Le Arti (1938-1943)
    © Ministero dei beni e delle attività culturali e del turismo – Bollettino d’Arte LE ARTI INDICE DEI SOMMARI 1938 –1943 1938–1939 Anno I A. XVII E. F. I – OTTOBRE – NOVEMBRE GIUSEPPE BOTTAI : Direttive del Ministero dell’Educazione Nazionale 3 CESARE BRANDI : Giotto (I) 5 CARLO CALZECCHI ONESTI : Un ignoto edificio romanico a Bologna: Santa Maria del Monte 22 GIUSEPPE FIOCCO : Eredità del Pordenone 28 MASSIMO PALLOTTINO : Studi sull’Arte Romana: L’orientamento stilistico della scultura aureliana 32 LUIGI RONGA: La musica “senza storia” 37 Il Convegno dei Soprintendenti: GIUSEPPE BOTTAI : Direttive per la tutela dell’arte antica e moderna 42 Relazioni: GIUSEPPE MORETTI : Rapporti tra Soprintendenze ed Enti Pubblici 53 SALVATORE AURIGEMMA : Rapporti tra RR. Soprintendenze e Musei Civici 57 GINO CHIERICI : Rapporti fra Soprintendenze ed Enti pubblici agli effetti della tutela monumentale 63 CARLO ARU : Esportazione degli oggetti di Antichità e d’Arte 65 Note: GIUSEPPE BOTTAI : Commemorazione di F. P. Michetti in Francavilla a Mare 70 AMEDEO MAIURI : Restauri a Pompei 72 STEFANO BOTTARI : Aggiunte al primo Antonello 74 WART ARSLAN : Osservazioni su Niccolò dell’Abate, Paris Bordon, Forabosco 76 RODOLFO PALLUCCHINI : Opere bassanesche nella R. Galleria Estense 81 RODOLFO PALLUCCHINI : Il riordinamento della Galleria Internazionale d’Arte Moderna di Venezia 84 CRONACA DEI RITROVAMENTI E DEI RESTAURI 89 Notiziario I-VIII II – DICEMBRE – GENNAIO PIETRO TOESCA : Un capolavoro di Michelangelo: la Pietà di Palestrina 105 AMEDEO MAIURI : Statuetta
    [Show full text]