This book addresses a phenomenon that pervades the field of art history: the fact that English ha... more This book addresses a phenomenon that pervades the field of art history: the fact that English has become our most prominent and widely adopted language. Art history employs language in a very particular way, one of its most basic aims being the verbal reconstruction of the visual past. The book seeks to shed light on the particular issues that English's rise to prominence poses for art history by investigating the history of the discipline itself: specifically, the extent to which the European tradition of art historical writing has always been shaped by the presence of dominant languages on the continent. The central questions of the volume can thus be summarized as follows. What artistic, intellectual , and historical dynamics drove the pattern of linguistic ascendance and diffusion in the art historical writing of past centuries? How have the immediate, practical ends of writing in a common language had unintended, long-term consequences for the discipline? Were art historical concepts transformed or left behind with the onset of a new lingua franca, or did they often remain intact beneath a shifting veneer of new words?
L’incisione moderna nacque nel XVI secolo in territorio tedesco. Quando la Germania non era ancor... more L’incisione moderna nacque nel XVI secolo in territorio tedesco. Quando la Germania non era ancora stato unitario, gli artisti di lingua tedesca svilupparono un efficiente sistema di produzione e diffusione delle stampa che ne elevò lo status, da mezzo di moltiplicazione delle immagini a basso costo, a linguaggio artistico indipendente. Ciò avvenne principalmente grazie a una delle massime menti del Rinascimento, quella di Albrecht Dürer: ma le sue intuizioni furono replicate, sviluppate e consolidate da una formidabile schiera di maestri incisori. Questo è il primo studio comprensivo in lingua italiana sull’argomento: raccoglie le biografie, una bibliografia di riferimento e un’antologia di opere rappresentative di oltre sessanta artisti compresi tra l’ultimo decennio del Quattrocento e la fine del secolo successivo, da Schongauer ai Piccoli Maestri di Norimberga, da Cranach a Altdorfer, passando per figure meno note e confronti con l’Italia, la Francia, la Svizzera e le Fiandre. Completa il testo una selezione di saggi che approfondiscono il mondo dell’incisione tedesca nelle sue molteplici sfaccettature storiche, tecniche e di espressione visiva.
Il volume ripercorre le vicende di Wilhelm Reinhold Valentiner (1880-1958), storico dell’arte ted... more Il volume ripercorre le vicende di Wilhelm Reinhold Valentiner (1880-1958), storico dell’arte tedesco formatosi nella Germania di inizio Novecento, dal 1908 a capo di una sezione del Metropolitan Museum di New York. A partire da quel cruciale momento, si ricostruiscono gli anni che Valentiner trascorse nella Germania di Weimar (1914-1921) dove, a Berlino, fu al fianco degli artisti espressionisti, per seguire poi i primi anni in cui lo studioso diresse il Detroit Institute of Arts. Attraverso queste pagine, oltre alla vicenda di Valentiner, si propone anche una ricostruzione del dialogo tra due culture (quella europea e quella statunitense) attorno al tema del valore del museo e sui metodi della Storia dell’arte in quella irripetibile stagione culturale che ancora ci influenza.
"Una spuntatura affrettata": "Arte italiana e arte tedesca" by Roberto Longhi... more "Una spuntatura affrettata": "Arte italiana e arte tedesca" by Roberto Longhi. In 1941 Roberto Longhi gave a lecture that would later become 'Arte italiana e arte tedesca'. In this work tha art historian traces a parallel between two opposing styles of artistic expression: the German one, distinguished by scropulous attention to detail and to naturalistic aspects, and the Italian one, more typically characterised by a synthesis of elements drawn from life. Longhi's analysis, starting from the Fall of the Roman Empire, traces the development of these two different approaches during the course of art history right up until the modern era. Italian artists like Giorgio Morandi and Carlo Carra, and Germans like Otto Dix are therefore included in the scholar's treatise. It is interesting to read Longhi's text together with the text that Heinrich Wolfflin published in 1931: "Die Kunst der Reinaissance. Italien und das Deutsche Formgefuhl". While in Wolfflin's text the differences between the German and Italian styles are explained in terms of 'national' characteristics, Longhi counters this abstract interpretation with more complex interpretative schemes which tend to emphasize the role of the artists themselves in the definition of the 'national style'. A much more indepht analysis of 'Arte italiana e arte tedesca' -for that matter never before undertaken- thus reveals Longhi's radical opposition to the book of his German colleague.
An "ignoto corrispondente", Lanzi and the gallery of Pommersfelden. On Roberto Longhi&#... more An "ignoto corrispondente", Lanzi and the gallery of Pommersfelden. On Roberto Longhi's emergence and development as an art scholar. This article analyses a text written by Roberto Longhi in about 1922. On returning to Italy after an extensive journey through Europe, Longhi changed his method of study and developed into an outstanding art connoisseur. This complex, multifaceted, decade-long process (1912-1922), which had the Grand Tour Longhi made with the collector Alessandro Contini-Bonacossi at its core, allowed Longhi to present himself as the 'heir' to the scholarly tradition begun by Luigi Lanzi. As Longhi himself wrote in the preface to his "Scritti Giovanili" (1961), he included texts which he considered representative of his youthful years. Among them is a pastiche. In a text conceived as a letter to Luigi Lanzi from the castle of Weissenstein, in Pommersfelden (near Munich), the author presents an overview of the pictures in the gallery and ...
Among the theoretical patterns that shaped art history between the nineteenth and twentieth centu... more Among the theoretical patterns that shaped art history between the nineteenth and twentieth century, formalism has undoubtedly a central place, with the turning point of Heinrich Wölfflin’s publication of the Kunstgeschichtliche Grundbegriffe (Principles of Art History) in 1915, which offered practical tools to interpret works of art on the basis of the historical forms of sight.1 One of the crucial contributions of early twentieth-century German formalist scholars was the creation of the conditions to reconcile modernity with the Baroque. Directing her attention to the architectural historiography of the Baroque from 1845 to 1945, Evonne Levy points out that ‘political circumstances pressed those who studied the history of art to compare that epoch [i.e. the seventeenth century] to their own’.2 The temporal frame defines a century that had, at its beginning, Jacob Burckhardt’s entry ‘Jesuitenstil’ for the ninth edition of the Conversations-Lexikon3 (chapter one) and, at its end, th...
At the beginning of the fifteenth century, Florence became one of the centers from which the so-c... more At the beginning of the fifteenth century, Florence became one of the centers from which the so-called ‘International Gothic’ radiated. The frescoes of Gherardo Starnina and the Empoli polyptych of Lorenzo Monaco established a new point of departure for Florentine artists, who were able to overcome the influence of the Giottesque tradition. An interesting case is how and in which manner these examples were spread to Pisa, Volterra, and Lucca. Of these cities, Lucca was the one which, with a great polyptych by Starnina, contributed to the circulation of this new stylistic paradigm. Exposed to the influence of both Florence and Lucca, on the other hand, the way in which Pisa and its artists reacted to these novelties permits one to trace a unique and interesting history: Works by Alvaro Pirez, Borghese di Piero, and Battista di Gerio are the best examples of the new style and of its dissemination.
This article traces how Wilhelm Reinhold Valentiner (1880–1958) studied, approached and criticise... more This article traces how Wilhelm Reinhold Valentiner (1880–1958) studied, approached and criticised late medieval Italian sculpture and German Expressionism, from the turn of the twentieth century until the eve of World War II. It explores Valentiner’s theoretical positions through a thorough analysis of his writings and biography, from his time as curator at the Metropolitan Museum of Art (1908–1914), through his World War I years in Germany (1914–1923), and, finally, to his second period in the United States (1923–1935). For Valentiner late medieval Italian sculpture and German Expressionism were linked by similar and comparable formal qualities. In his writings Valentiner created a bidirectional dialogue between past and present. He interpreted the stylistic characteristics of late medieval sculpture by referring to Expressionist formal simplifications; but he also elevated Expressionism as a pure modern form of art, by creating a "tradition" for it, and interpreting it as the final step of an artistic lineage that had begun in the late Middle Ages.
This book addresses a phenomenon that pervades the field of art history: the fact that English ha... more This book addresses a phenomenon that pervades the field of art history: the fact that English has become our most prominent and widely adopted language. Art history employs language in a very particular way, one of its most basic aims being the verbal reconstruction of the visual past. The book seeks to shed light on the particular issues that English's rise to prominence poses for art history by investigating the history of the discipline itself: specifically, the extent to which the European tradition of art historical writing has always been shaped by the presence of dominant languages on the continent. The central questions of the volume can thus be summarized as follows. What artistic, intellectual , and historical dynamics drove the pattern of linguistic ascendance and diffusion in the art historical writing of past centuries? How have the immediate, practical ends of writing in a common language had unintended, long-term consequences for the discipline? Were art historical concepts transformed or left behind with the onset of a new lingua franca, or did they often remain intact beneath a shifting veneer of new words?
L’incisione moderna nacque nel XVI secolo in territorio tedesco. Quando la Germania non era ancor... more L’incisione moderna nacque nel XVI secolo in territorio tedesco. Quando la Germania non era ancora stato unitario, gli artisti di lingua tedesca svilupparono un efficiente sistema di produzione e diffusione delle stampa che ne elevò lo status, da mezzo di moltiplicazione delle immagini a basso costo, a linguaggio artistico indipendente. Ciò avvenne principalmente grazie a una delle massime menti del Rinascimento, quella di Albrecht Dürer: ma le sue intuizioni furono replicate, sviluppate e consolidate da una formidabile schiera di maestri incisori. Questo è il primo studio comprensivo in lingua italiana sull’argomento: raccoglie le biografie, una bibliografia di riferimento e un’antologia di opere rappresentative di oltre sessanta artisti compresi tra l’ultimo decennio del Quattrocento e la fine del secolo successivo, da Schongauer ai Piccoli Maestri di Norimberga, da Cranach a Altdorfer, passando per figure meno note e confronti con l’Italia, la Francia, la Svizzera e le Fiandre. Completa il testo una selezione di saggi che approfondiscono il mondo dell’incisione tedesca nelle sue molteplici sfaccettature storiche, tecniche e di espressione visiva.
Il volume ripercorre le vicende di Wilhelm Reinhold Valentiner (1880-1958), storico dell’arte ted... more Il volume ripercorre le vicende di Wilhelm Reinhold Valentiner (1880-1958), storico dell’arte tedesco formatosi nella Germania di inizio Novecento, dal 1908 a capo di una sezione del Metropolitan Museum di New York. A partire da quel cruciale momento, si ricostruiscono gli anni che Valentiner trascorse nella Germania di Weimar (1914-1921) dove, a Berlino, fu al fianco degli artisti espressionisti, per seguire poi i primi anni in cui lo studioso diresse il Detroit Institute of Arts. Attraverso queste pagine, oltre alla vicenda di Valentiner, si propone anche una ricostruzione del dialogo tra due culture (quella europea e quella statunitense) attorno al tema del valore del museo e sui metodi della Storia dell’arte in quella irripetibile stagione culturale che ancora ci influenza.
"Una spuntatura affrettata": "Arte italiana e arte tedesca" by Roberto Longhi... more "Una spuntatura affrettata": "Arte italiana e arte tedesca" by Roberto Longhi. In 1941 Roberto Longhi gave a lecture that would later become 'Arte italiana e arte tedesca'. In this work tha art historian traces a parallel between two opposing styles of artistic expression: the German one, distinguished by scropulous attention to detail and to naturalistic aspects, and the Italian one, more typically characterised by a synthesis of elements drawn from life. Longhi's analysis, starting from the Fall of the Roman Empire, traces the development of these two different approaches during the course of art history right up until the modern era. Italian artists like Giorgio Morandi and Carlo Carra, and Germans like Otto Dix are therefore included in the scholar's treatise. It is interesting to read Longhi's text together with the text that Heinrich Wolfflin published in 1931: "Die Kunst der Reinaissance. Italien und das Deutsche Formgefuhl". While in Wolfflin's text the differences between the German and Italian styles are explained in terms of 'national' characteristics, Longhi counters this abstract interpretation with more complex interpretative schemes which tend to emphasize the role of the artists themselves in the definition of the 'national style'. A much more indepht analysis of 'Arte italiana e arte tedesca' -for that matter never before undertaken- thus reveals Longhi's radical opposition to the book of his German colleague.
An "ignoto corrispondente", Lanzi and the gallery of Pommersfelden. On Roberto Longhi&#... more An "ignoto corrispondente", Lanzi and the gallery of Pommersfelden. On Roberto Longhi's emergence and development as an art scholar. This article analyses a text written by Roberto Longhi in about 1922. On returning to Italy after an extensive journey through Europe, Longhi changed his method of study and developed into an outstanding art connoisseur. This complex, multifaceted, decade-long process (1912-1922), which had the Grand Tour Longhi made with the collector Alessandro Contini-Bonacossi at its core, allowed Longhi to present himself as the 'heir' to the scholarly tradition begun by Luigi Lanzi. As Longhi himself wrote in the preface to his "Scritti Giovanili" (1961), he included texts which he considered representative of his youthful years. Among them is a pastiche. In a text conceived as a letter to Luigi Lanzi from the castle of Weissenstein, in Pommersfelden (near Munich), the author presents an overview of the pictures in the gallery and ...
Among the theoretical patterns that shaped art history between the nineteenth and twentieth centu... more Among the theoretical patterns that shaped art history between the nineteenth and twentieth century, formalism has undoubtedly a central place, with the turning point of Heinrich Wölfflin’s publication of the Kunstgeschichtliche Grundbegriffe (Principles of Art History) in 1915, which offered practical tools to interpret works of art on the basis of the historical forms of sight.1 One of the crucial contributions of early twentieth-century German formalist scholars was the creation of the conditions to reconcile modernity with the Baroque. Directing her attention to the architectural historiography of the Baroque from 1845 to 1945, Evonne Levy points out that ‘political circumstances pressed those who studied the history of art to compare that epoch [i.e. the seventeenth century] to their own’.2 The temporal frame defines a century that had, at its beginning, Jacob Burckhardt’s entry ‘Jesuitenstil’ for the ninth edition of the Conversations-Lexikon3 (chapter one) and, at its end, th...
At the beginning of the fifteenth century, Florence became one of the centers from which the so-c... more At the beginning of the fifteenth century, Florence became one of the centers from which the so-called ‘International Gothic’ radiated. The frescoes of Gherardo Starnina and the Empoli polyptych of Lorenzo Monaco established a new point of departure for Florentine artists, who were able to overcome the influence of the Giottesque tradition. An interesting case is how and in which manner these examples were spread to Pisa, Volterra, and Lucca. Of these cities, Lucca was the one which, with a great polyptych by Starnina, contributed to the circulation of this new stylistic paradigm. Exposed to the influence of both Florence and Lucca, on the other hand, the way in which Pisa and its artists reacted to these novelties permits one to trace a unique and interesting history: Works by Alvaro Pirez, Borghese di Piero, and Battista di Gerio are the best examples of the new style and of its dissemination.
This article traces how Wilhelm Reinhold Valentiner (1880–1958) studied, approached and criticise... more This article traces how Wilhelm Reinhold Valentiner (1880–1958) studied, approached and criticised late medieval Italian sculpture and German Expressionism, from the turn of the twentieth century until the eve of World War II. It explores Valentiner’s theoretical positions through a thorough analysis of his writings and biography, from his time as curator at the Metropolitan Museum of Art (1908–1914), through his World War I years in Germany (1914–1923), and, finally, to his second period in the United States (1923–1935). For Valentiner late medieval Italian sculpture and German Expressionism were linked by similar and comparable formal qualities. In his writings Valentiner created a bidirectional dialogue between past and present. He interpreted the stylistic characteristics of late medieval sculpture by referring to Expressionist formal simplifications; but he also elevated Expressionism as a pure modern form of art, by creating a "tradition" for it, and interpreting it as the final step of an artistic lineage that had begun in the late Middle Ages.
Wilhelm Reinhold Valentiner (1880-1958) a été l’un des grands historiens de l’art du XXe siècle. ... more Wilhelm Reinhold Valentiner (1880-1958) a été l’un des grands historiens de l’art du XXe siècle. Après sa formation en Allemagne, il prit la direction en 1908 du département des arts décoratifs au Metropolitan Museum of Art de New York, avant de revenir dans sa patrie où, entre 1914 et 1921, il côtoya les expressionnistes. Il franchit ensuite encore une fois l’Atlantique, en y dirigeant jusqu’à sa retraite plusieurs musées majeurs, à Detroit et Los Angeles. Cet esprit ouvert et curieux s’intéressa aussi bien à Rembrandt qu’à l’art d’avant-garde de son temps et aux arts décoratifs. Il contribua aussi à redécouvrir la sculpture siennoise de l’époque gothique, en remettant à l’honneur certains des œuvres et des artistes les plus fascinants de la fin du Moyen Âge en Italie.
University Nijmegen jointly organize an international conference on their common research theme "... more University Nijmegen jointly organize an international conference on their common research theme " Europe and its Worlds ". At the core of this theme is the question of how Europe has always consisted of different worlds and how it interacts with other worlds. This conference specifically addresses the many ways in which cultural mobility impacts on European culture, past and present. The notion of cultural mobility raises new questions on issues of persistence, change, conflict and interaction. The aim of this inter-and multidisciplinary conference is to open the discussion on the way in which the popular EU slogan " unity in diversity " is to be related to cultural mobility. For more information, please send an email to europeanditsworlds@let.ru.nl or visit our website www.ru.nl/europeanditsworlds.
Ricordo di Linda Pisani
EDITORIALE
Gerardo de Simone, Emanuele Pellegrini
The Books that shaped... more Ricordo di Linda Pisani
EDITORIALE Gerardo de Simone, Emanuele Pellegrini The Books that shaped Art History? No Italians, please
MONOGRAFIA/MONOGRAPH LE ARTI A PISA NEL PRIMO RINASCIMENTO /THE ARTS IN PISA DURING THE EARLY RENAISSANCE Diane COLE AHL Introduction
Gail E. SOLBERG Pisa as a Center of Tuscan Painting in the 1390s: The Case of Taddeo di Bartolo
Gabriele FATTORINI Giovanni di Pietro da Napoli e Martino di Bartolomeo in “compagnia” nella Pisa di primo Quattrocento (con un accenno alle tele che fingevano affreschi)
Marco MASCOLO Pittura tra Pisa e Lucca al Principio del Quattrocento: alcuni casi dello stile ‘Gotico Internazionale’
Clario DI FABIO Giovanni di Pietro, un pittore pisano a Genova nel primo Quattrocento. Approfondimenti, inediti e questioni di contesto
Anthony M. CUMMINGS Godi, Firenze:The Florentine Conquest of Pisa Celebrated in Song
Marco FRATI Il secolo breve di Pisa. L’architettura durante la prima occupazione fiorentina (1406-1494) fra tradizione e innovazione
Linda PISANI Ricerche sull’iconografia del polittico pisano di Masaccio
Christa GARDNER VON TEUFFEL Locating Albert: The first Carmelite Saint in the works of Taddeo di Bartolo, Lippo di Andrea, Masaccio and others
Gabriele DONATI San Ranieri in America. Due oreficerie di metà Quattrocento fra New York e Pisa
Claudio CASINI L’angelo che non volò.Una scultura non realizzata per il nuovo arredo presbiteriale del Duomo di Pisa al tempo dell’arcivescovo Filippo de’ Medici
Jean K. CADOGAN Benozzo Gozzoli, Filippo de' Medici and the Old Testament Murals in the Camposanto in Pisa (1468-1484)
Luigi LAZZERINI Benozzo Gozzoli e la Fraternita dei fiorentini di Pisa
Sarah M. CADAGIN Domenico Ghirlandaio and his Workshop in Pisa: Panel Paintings for the Gesuati
Caterina BAY La storia di Pafnuzio e Onofrio in una tavola del Museo Nazionale di San Matteo
Pierluigi NIERI Il restauro del Redentore benedicentedel Beato Angelico al Museo Nazionale di San Matteo a Pisa: dati diagnostici, tecnici e materiali
Gerardo DE SIMONE Tra decadenza e Rinascenza: spigolature sul Quattrocento a Pisa
MISCELLANEA/MISCELLANY FIGURE Maria Luisa CATONI Stylization of the body and embodied values in Classical Antiquity
Cinzia NICOLINI Note sulla committenza del “Regno di Pan” di Luca Signorelli
Luke UGLOW Observations on Crowe and Cavalcaselle and their analysis of Giorgione
CORNICE Federica VERATELLI Antonio Morassi life and method in the mirror of his Photo Archive.Rethinking Art Historical Photographic Collections. The makings of Italian fototeche
Gemma TORRE Dissemination of picture copies through different archives: the visual power of Cesare Battisti’s death
Silvia BOTTINELLI Protecting Creativity and Research through Fair Use. An Art Historian’s Reflections on the Unsustainable Costs of Image Reproduction Fees
CUSPIDE Gigetta DALLI REGOLI Malinconia di Giuseppe: l’avventura figurativa del santo fra tardo Medioevo e Rinascimento
IN MOSTRA Lucia COLLAVO La mia arma contro l’atomica è un filo d’erba. Tancredi. Una retrospettiva. Collezione Peggy Guggenheim, Venezia
IN LIBRERIA Sara MENATO Cecilia Vicentini, La collezione Calcagnini d’Este. Una famiglia e le sue raccolte fra Ferrara e Roma
Vlad IONESCU From nothing, from an ‘idea’: Barbara Baert’s iconology of immersions and transitions
Annamaria DUCCI Pierre Leveau, L'institution de la conservation du patrimoine culturel dans l'Entre-Deux-Guerres
Manuela RITONDALE Peggy Levitt,Artifacts and allegiances. How museums put the nation and the world on display
M. Mascolo, Dal limbo di un abate prezioso, in "Alias Domenica / Il Manifesto", domenica 3 Ottobr... more M. Mascolo, Dal limbo di un abate prezioso, in "Alias Domenica / Il Manifesto", domenica 3 Ottobre 2021
https://ilmanifesto.it/cybei-dal-limbo-di-un-abate-prezioso/
Uploads
The central questions of the volume can thus be summarized as follows. What artistic, intellectual , and historical dynamics drove the pattern of linguistic ascendance and diffusion in the art historical writing of past centuries? How have the immediate, practical ends of writing in a common language had unintended, long-term consequences for the discipline? Were art historical concepts transformed or left behind with the onset of a new lingua franca, or did they often remain intact beneath a shifting veneer of new words?
Questo è il primo studio comprensivo in lingua italiana sull’argomento: raccoglie le biografie, una bibliografia di riferimento e un’antologia di opere rappresentative di oltre sessanta artisti compresi tra l’ultimo decennio del Quattrocento e la fine del secolo successivo, da Schongauer ai Piccoli Maestri di Norimberga, da Cranach a Altdorfer, passando per figure meno note e confronti con l’Italia, la Francia, la Svizzera e le Fiandre. Completa il testo una selezione di saggi che approfondiscono il mondo dell’incisione tedesca nelle sue molteplici sfaccettature storiche, tecniche e di espressione visiva.
A partire da quel cruciale momento, si ricostruiscono gli anni che Valentiner trascorse nella Germania di Weimar (1914-1921) dove, a Berlino, fu al fianco degli artisti espressionisti, per seguire poi i primi anni in cui lo studioso diresse il Detroit Institute of Arts.
Attraverso queste pagine, oltre alla vicenda di Valentiner, si propone anche una ricostruzione del dialogo tra due culture (quella europea e quella statunitense) attorno al tema del valore del museo e sui metodi della Storia dell’arte in quella irripetibile stagione culturale che ancora ci influenza.
to Pisa, Volterra, and Lucca. Of these cities, Lucca was the one which, with a great polyptych by Starnina, contributed to the circulation of this new stylistic paradigm. Exposed to the influence of both Florence and Lucca, on the other hand, the way in which Pisa and its artists reacted to these novelties permits one to trace a unique and interesting history: Works by Alvaro Pirez, Borghese di Piero, and Battista di Gerio are the best examples of the new style and of its dissemination.
The central questions of the volume can thus be summarized as follows. What artistic, intellectual , and historical dynamics drove the pattern of linguistic ascendance and diffusion in the art historical writing of past centuries? How have the immediate, practical ends of writing in a common language had unintended, long-term consequences for the discipline? Were art historical concepts transformed or left behind with the onset of a new lingua franca, or did they often remain intact beneath a shifting veneer of new words?
Questo è il primo studio comprensivo in lingua italiana sull’argomento: raccoglie le biografie, una bibliografia di riferimento e un’antologia di opere rappresentative di oltre sessanta artisti compresi tra l’ultimo decennio del Quattrocento e la fine del secolo successivo, da Schongauer ai Piccoli Maestri di Norimberga, da Cranach a Altdorfer, passando per figure meno note e confronti con l’Italia, la Francia, la Svizzera e le Fiandre. Completa il testo una selezione di saggi che approfondiscono il mondo dell’incisione tedesca nelle sue molteplici sfaccettature storiche, tecniche e di espressione visiva.
A partire da quel cruciale momento, si ricostruiscono gli anni che Valentiner trascorse nella Germania di Weimar (1914-1921) dove, a Berlino, fu al fianco degli artisti espressionisti, per seguire poi i primi anni in cui lo studioso diresse il Detroit Institute of Arts.
Attraverso queste pagine, oltre alla vicenda di Valentiner, si propone anche una ricostruzione del dialogo tra due culture (quella europea e quella statunitense) attorno al tema del valore del museo e sui metodi della Storia dell’arte in quella irripetibile stagione culturale che ancora ci influenza.
to Pisa, Volterra, and Lucca. Of these cities, Lucca was the one which, with a great polyptych by Starnina, contributed to the circulation of this new stylistic paradigm. Exposed to the influence of both Florence and Lucca, on the other hand, the way in which Pisa and its artists reacted to these novelties permits one to trace a unique and interesting history: Works by Alvaro Pirez, Borghese di Piero, and Battista di Gerio are the best examples of the new style and of its dissemination.
EDITORIALE
Gerardo de Simone, Emanuele Pellegrini
The Books that shaped Art History? No Italians, please
MONOGRAFIA/MONOGRAPH
LE ARTI A PISA NEL PRIMO RINASCIMENTO /THE ARTS IN PISA DURING THE EARLY RENAISSANCE
Diane COLE AHL
Introduction
Gail E. SOLBERG
Pisa as a Center of Tuscan Painting in the 1390s: The Case of Taddeo di Bartolo
Gabriele FATTORINI
Giovanni di Pietro da Napoli e Martino di Bartolomeo in “compagnia” nella Pisa di primo Quattrocento (con un accenno alle tele che fingevano affreschi)
Marco MASCOLO
Pittura tra Pisa e Lucca al Principio del Quattrocento: alcuni casi dello stile ‘Gotico Internazionale’
Clario DI FABIO
Giovanni di Pietro, un pittore pisano a Genova nel primo Quattrocento. Approfondimenti, inediti e questioni di contesto
Anthony M. CUMMINGS
Godi, Firenze:The Florentine Conquest of Pisa Celebrated in Song
Marco FRATI
Il secolo breve di Pisa. L’architettura durante la prima occupazione fiorentina (1406-1494) fra tradizione e innovazione
Linda PISANI
Ricerche sull’iconografia del polittico pisano di Masaccio
Christa GARDNER VON TEUFFEL
Locating Albert: The first Carmelite Saint in the works of Taddeo di Bartolo, Lippo di Andrea, Masaccio and others
Gabriele DONATI
San Ranieri in America. Due oreficerie di metà Quattrocento fra New York e Pisa
Claudio CASINI
L’angelo che non volò.Una scultura non realizzata per il nuovo arredo presbiteriale del Duomo di Pisa al tempo dell’arcivescovo Filippo de’ Medici
Jean K. CADOGAN
Benozzo Gozzoli, Filippo de' Medici and the Old Testament Murals in the Camposanto in Pisa (1468-1484)
Luigi LAZZERINI
Benozzo Gozzoli e la Fraternita dei fiorentini di Pisa
Sarah M. CADAGIN
Domenico Ghirlandaio and his Workshop in Pisa: Panel Paintings for the Gesuati
Caterina BAY
La storia di Pafnuzio e Onofrio in una tavola del Museo Nazionale di San Matteo
Pierluigi NIERI
Il restauro del Redentore benedicentedel Beato Angelico al Museo Nazionale di San Matteo a Pisa: dati diagnostici, tecnici e materiali
Gerardo DE SIMONE
Tra decadenza e Rinascenza: spigolature sul Quattrocento a Pisa
MISCELLANEA/MISCELLANY
FIGURE
Maria Luisa CATONI
Stylization of the body and embodied values in Classical Antiquity
Cinzia NICOLINI
Note sulla committenza del “Regno di Pan” di Luca Signorelli
Luke UGLOW
Observations on Crowe and Cavalcaselle and their analysis of Giorgione
CORNICE
Federica VERATELLI
Antonio Morassi life and method in the mirror of his Photo Archive.Rethinking Art Historical Photographic Collections. The makings of Italian fototeche
Gemma TORRE
Dissemination of picture copies through different archives: the visual power of Cesare Battisti’s death
Silvia BOTTINELLI
Protecting Creativity and Research through Fair Use. An Art Historian’s Reflections on the Unsustainable Costs of Image Reproduction Fees
CUSPIDE
Gigetta DALLI REGOLI
Malinconia di Giuseppe: l’avventura figurativa del santo fra tardo Medioevo e Rinascimento
IN MOSTRA
Lucia COLLAVO
La mia arma contro l’atomica è un filo d’erba. Tancredi. Una retrospettiva. Collezione Peggy Guggenheim, Venezia
IN LIBRERIA
Sara MENATO
Cecilia Vicentini, La collezione Calcagnini d’Este. Una famiglia e le sue raccolte fra Ferrara e Roma
Vlad IONESCU
From nothing, from an ‘idea’: Barbara Baert’s iconology of immersions and transitions
Annamaria DUCCI
Pierre Leveau, L'institution de la conservation du patrimoine culturel dans l'Entre-Deux-Guerres
Manuela RITONDALE
Peggy Levitt,Artifacts and allegiances. How museums put the nation and the world on display
https://ilmanifesto.it/cybei-dal-limbo-di-un-abate-prezioso/