Floriana Conte
Storia dell'arte moderna, Storia dell'arte contemporanea, Museologia, critica artistica e del restauro
Address: Cfr. https://unifg.academia.edu/FlorianaConte PER GLI ANNI PRECEDENTI AL 2019
Address: Cfr. https://unifg.academia.edu/FlorianaConte PER GLI ANNI PRECEDENTI AL 2019
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Fabrizio Serra editore, Pisa - Roma
*
Volume 18, 2020
Pp. 212
*
Letteratura & Arte (fascicolo completo), a cura di Giovanna Rizzarelli
Volume 18 - 2020
http://www.libraweb.net/articoli.php?chiave=202006001&rivista=60
in a sacred painting. The chronology of it is also related to the decorative complex of the Dominican church of Santa Maria della Vittoria in Milan, where two paintings by Salvator Rosa and Pier Francesco Mola with Gaspard Dughet were exhibited in. It is higly probably that Jacob was painted for the lawyer Lorito Giuseppe Pitassi, the son-in-law of
the patrons of the Saint Mary of Costantinopoli with angels and saints by Tanzio da Varallo in Pescocostanzo.
Starting from the 10s of the twentieth century, the technical lexicon related to ancient and contemporary art is enriched with lexical series of metonymies, and bookish and poetic words that are affected by literary experiences of the nineteenth and twentieth centuries and, intensely, by Dante's memory. At the «Vincenzo Gioberti» high school in Turin, a student who graduated in 1907, Roberto Longhi, listened to the lectures on Dante by Umberto Cosmo, a literature teacher who also innovated the studies about the Commedia, who was able to impress even an artist who flaunts not be fond of anything but really looking for masters, Umberto Boccioni. The artist, in Padua, on March 28, 1907, met professor Cosmo «who deals with franciscan studies» and talks to him «about painting like a man good at Literature»; the day before he was attending a conference by Adolfo Venturi on Donatello. Boccioni’s art had a decisive upgrade thanks to the appreciation for Donatello's sculpture (or for what is attributed to him) between 1907 and 1913. When the artist developed Forme uniche della continuità nello spazio, he contributes to the visual fortune of one of the most important walking marble sculptures of the Italian sixteenth century, the John the Baptist by Francesco da Sangallo exhibited in the Museo Nazionale del Bargello. John the Baptist is attributed to Donatello in the scientific bibliography known to Boccioni as the book by Paul Schubring, Donatello. Des Meisters Werke, eleventh volume of the series "Klassiker der Kunst in Gesamtausgaben", Deutsche Verlag-Anstalt, Stuttgart-Leipzig, 1907.
Fabrizio Serra editore, Pisa - Roma
*
Volume 18, 2020
Pp. 212
*
Letteratura & Arte (fascicolo completo), a cura di Giovanna Rizzarelli
Volume 18 - 2020
http://www.libraweb.net/articoli.php?chiave=202006001&rivista=60
in a sacred painting. The chronology of it is also related to the decorative complex of the Dominican church of Santa Maria della Vittoria in Milan, where two paintings by Salvator Rosa and Pier Francesco Mola with Gaspard Dughet were exhibited in. It is higly probably that Jacob was painted for the lawyer Lorito Giuseppe Pitassi, the son-in-law of
the patrons of the Saint Mary of Costantinopoli with angels and saints by Tanzio da Varallo in Pescocostanzo.
Starting from the 10s of the twentieth century, the technical lexicon related to ancient and contemporary art is enriched with lexical series of metonymies, and bookish and poetic words that are affected by literary experiences of the nineteenth and twentieth centuries and, intensely, by Dante's memory. At the «Vincenzo Gioberti» high school in Turin, a student who graduated in 1907, Roberto Longhi, listened to the lectures on Dante by Umberto Cosmo, a literature teacher who also innovated the studies about the Commedia, who was able to impress even an artist who flaunts not be fond of anything but really looking for masters, Umberto Boccioni. The artist, in Padua, on March 28, 1907, met professor Cosmo «who deals with franciscan studies» and talks to him «about painting like a man good at Literature»; the day before he was attending a conference by Adolfo Venturi on Donatello. Boccioni’s art had a decisive upgrade thanks to the appreciation for Donatello's sculpture (or for what is attributed to him) between 1907 and 1913. When the artist developed Forme uniche della continuità nello spazio, he contributes to the visual fortune of one of the most important walking marble sculptures of the Italian sixteenth century, the John the Baptist by Francesco da Sangallo exhibited in the Museo Nazionale del Bargello. John the Baptist is attributed to Donatello in the scientific bibliography known to Boccioni as the book by Paul Schubring, Donatello. Des Meisters Werke, eleventh volume of the series "Klassiker der Kunst in Gesamtausgaben", Deutsche Verlag-Anstalt, Stuttgart-Leipzig, 1907.