- Paris, Île-de-France, France
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- I have taught at the universities of Lancaster (GB), Lyon and Poitiers, and my resarch interests include: the Italian... moreI have taught at the universities of Lancaster (GB), Lyon and Poitiers, and my resarch interests include: the Italian Renaissance & its impact on modern and contemporary visual culture, Piero della Francesca, visual propaganda in Italy and France, political portraiture, American art.edit
International audienceno abstrac
International audienceno abstrac
International audienceÀ plus de soixante-dix ans de la fin du Second conflit mondial, nous pouvons toujours apprécier en Italie l’abondance d’une production artistique multiforme qui ne cesse d’évoquer, d’explorer et de réélaborer les... more
International audienceÀ plus de soixante-dix ans de la fin du Second conflit mondial, nous pouvons toujours apprécier en Italie l’abondance d’une production artistique multiforme qui ne cesse d’évoquer, d’explorer et de réélaborer les souvenirs et les images liés à la dictature italienne. Ces souvenirs et images varient en fonction de l’identité des artistes, de leur histoire personnelle, de la génération à laquelle ils appartiennent, et bien évidemment selon le degré et l’orientation de leur engagement politique. C’est donc à la lumière de ces considérations historiques, historiographiques et générationnelles que nous souhaitons interroger le réservoir d’images, de paroles et de gestes mobilisé par les artistes tout au long de la seconde moitié du XXe siècle. Comment ces mémoires, directes ou indirectes, se déclinent-elles au cinéma, dans les arts plastiques, au théâtre ?L'ouvrage contient le texte des seize contributions du colloque "Mémoires du Ventennio. Représentations...
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International audienceno abstrac
Research Interests: Humanities and Art
... Passioni, emozioni e rappresentazioni nell'età contemporanea, San Marino: Università di SanMarino, pp. 183206, 22737; Luciano Cheles (2009)... more
... Passioni, emozioni e rappresentazioni nell'età contemporanea, San Marino: Università di SanMarino, pp. 183206, 22737; Luciano Cheles (2009) 'Il '68 nella propaganda figurativa del Movimento Sociale Italiano', in Silvia Casilio and Loredana Guerrieri (eds) Il '68 diffuso. ...
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Parties frequently appropriate propaganda images from other movements, which all too often belong to the opposite end of the political spectrum. This article considers the main forms of visual appropriation and illustrates them with... more
Parties frequently appropriate propaganda images from other movements, which all too often belong to the opposite end of the political spectrum. This article considers the main forms of visual appropriation and illustrates them with examples drawn from Italian and French post-war propaganda. It argues that the phenomenon is widespread especially among right-wing parties, which tend to adopt the imagery created by well-established political organisations to legitimate themselves, to present themselves to the voters in a more modern and appealing way or to attempt a dialogue with them. The technique of imitation may also be used to create a sense of confusion with the ultimate aim of neutralising the messages of other parties, or to steal votes from their natural constituencies. Left-wing parties too at times mimic the images (and slogans) of the right, but usually with parodying intentions which can escape the public at large.
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Grant Wood’s style became more sharply contoured and abstract from the late 1920s, a transformation generally attributed to his 1928 trip to Munich, which exposed him to early Flemish and German paintings. Backed by documentary and... more
Grant Wood’s style became more sharply contoured and abstract from the late 1920s, a transformation generally attributed to his 1928 trip to Munich, which exposed him to early Flemish and German paintings. Backed by documentary and circumstantial evidence, this study argues that several of Wood’s best-known works are in fact compositionally and iconographically indebted to the Italian Renaissance, and more specifically to Piero della Francesca, a master who enjoyed a strong revival in the early twentieth century, in the wake of Modernist aesthetics, on account of his “primitive” and geometrical style. The article shows that Wood’s Renaissance appropriations are used imaginatively for satirical ends.
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... Passioni, emozioni e rappresentazioni nell'età contemporanea, San Marino: Università di SanMarino, pp. 183206, 22737; Luciano Cheles (2009)... more
... Passioni, emozioni e rappresentazioni nell'età contemporanea, San Marino: Università di SanMarino, pp. 183206, 22737; Luciano Cheles (2009) 'Il '68 nella propaganda figurativa del Movimento Sociale Italiano', in Silvia Casilio and Loredana Guerrieri (eds) Il '68 diffuso. ...
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Les vicissitudes italiennes des années quatre-vingt — la défaite du mouvement syndical, la séparation des forces politiques de gauche, la naissance de valeurs nouvelles et d’une société et d’un marché de travail plus fragmentés, la... more
Les vicissitudes italiennes des années quatre-vingt — la défaite du mouvement syndical, la séparation des forces politiques de gauche, la naissance de valeurs nouvelles et d’une société et d’un marché de travail plus fragmentés, la critique du paradigme antifasciste — sont étudiées à la lumière d’un contexte international dans lequel a pris forme un projet géopolitique d’unification et d’expansion des marchés rendant difficile la poursuite des politiques alternatives sur le plan national. Les particularités mêmes du « cas italien » sont interprétées dans cette perspective plus large, en s’interrogeant sur la conscience que les acteurs politiques, les écrivains et les intellectuels ont eu de vivre un moment historique où se sont développés des changements d’une telle ampleur
The article analyses the visual propaganda of Georgia Meloni, leader of Fratelli d'Italia, focusing especially on the ways she has been portrayed and on her heavy reliance on photographic manipulations. She appears, in turns, as a... more
The article analyses the visual propaganda of Georgia Meloni, leader of Fratelli d'Italia, focusing especially on the ways she has been portrayed and on her heavy reliance on photographic manipulations. She appears, in turns, as a glamorous star-like figure and, drawing from the official portraits of Presidents Barack Obama and Emmanuel Macron, as a distinguished politician. The article also shows that, despite Fratelli d'Italia's claim to be a liberal conservative party, its propaganda recurrently alludes to fascism and even Nazism.
Research Interests: Visual propaganda, Portraits, Leadership, Barack Obama, Julius Evola, and 15 moreBenito Mussolini, Glamour, Contemporary Italian History and Politics, Retouching, Posters, Extreme and Far Right, Political Iconography, Anthems, Female Leadership, Corneliu Codreanu, Iconography of the political leaders, Emmanuel Macron, manipulation of images, Giorgia Meloni, and Fratelli D'Italia
Giorgia Meloni claims that her party, Fratelli d'Italia, is a modern and moderate right that rejects fascism. Yet, as this article shows, the images and slogans that feature on its visual propaganda are strongly indebted to those of... more
Giorgia Meloni claims that her party, Fratelli d'Italia, is a modern and moderate right that rejects fascism. Yet, as this article shows, the images and slogans that feature on its visual propaganda are strongly indebted to those of Mussolini's regime.
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International audienceno abstrac
This essay deals with the ways women have been depicted in electoral propaganda in Italy and France in the first two decades of this century. It considers the extent to which the styles of representation depend on the parties' political... more
This essay deals with the ways women have been depicted in electoral propaganda in Italy and France in the first two decades of this century. It considers the extent to which the styles of representation depend on the parties' political identities. A comparison of the graphic output of Italian and French parties reveals marked differences in the representations of female politicians. Particular attention is devoted to the strongly gendered modes of representation of Italian right and far right personalities.
Research Interests: Gender Studies, Visual Studies, Visual propaganda, Portraits, Women's Studies, and 14 moreLeadership, Italian Politics, Italy (History), Stardom and Celebrity, Glamour, Contemporary Italy, Italian Elections, Neofascism, Political posters, Marine Le Pen, La Cicciolina, Ségolène Royal, Postfascism, and Giorgia Meloni
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The essay examines Piero della Francesca's impact on French art from the 1830s to the the early decades of the 20th century. It looks at the political use that some artists (e.g. Horace Vernet and Paul-Joseph Blanc) made of... more
The essay examines Piero della Francesca's impact on French art from the 1830s to the the early decades of the 20th century. It looks at the political use that some artists (e.g. Horace Vernet and Paul-Joseph Blanc) made of Piero's paintings, and focuses on the works of major artists such as Puvis de Chavannes, Maurice Denis, Matisse and Picasso, who fell under the Renaissance master's spell.
Research Interests: Iconography, Visual propaganda, Renaissance Art, Gertrude Stein, Modernism (Art History), and 15 morePiero della Francesca, Pablo Picasso, Appropriation, Imitation, Napoleon, Resurrection of Jesus, Pantheon, Arezzo, Horace Vernet, Edgar Degas, Georges Seurat, Villa Medici, Sansepolcro, Puvis de Chavannes, and Nineteenth Century French Painting
... Voir Luciano Cheles, « Il '68 nella propaganda figurativa del Movimento Sociale Italiano », in Silvia Lasilio et Loredana Guerrieri (dir.), Il '68 diffuso. ... », paru en 1968, a été republié dans Pier Paolo Pasolini,... more
... Voir Luciano Cheles, « Il '68 nella propaganda figurativa del Movimento Sociale Italiano », in Silvia Lasilio et Loredana Guerrieri (dir.), Il '68 diffuso. ... », paru en 1968, a été republié dans Pier Paolo Pasolini, Bestemmia: tutte le poesie, Milan, Garzanti, 1993, p. 1851-1861. Retour. ...
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List of Contributors. List of illustrations. Acknowledgements. Foreword. 1. Neo-Fascism - West and East. 2. The dark side of nationalism: the revival of nationalism in later twentieth-century Europe. 3. The Italian far right: the search... more
List of Contributors. List of illustrations. Acknowledgements. Foreword. 1. Neo-Fascism - West and East. 2. The dark side of nationalism: the revival of nationalism in later twentieth-century Europe. 3. The Italian far right: the search for legitimacy. 4. 'Nostalgia dell' avvenire'. The propaganda of the Italian far right between tradition and innovation. 5. The extreme right in Spain: a dying species? 6. The radical right in contemporary Portugal. 7. Neo-Fascism in modern Greece. 8. Nationalism and the extreme right in former Yugoslavia. 9. The CIS and after: the impact of Russian Nationalism. 10. The new right in Poland: Nationalism, anti-Semitism and parliamentarianism. 11. The extreme right in France: 'Lepenisme or the politics of fear. 12. The new right in France. 13. The far right in Belgium: the double track. 14. Britain's Nazi underground. 15. Women and the Bristish extreme right. 16. The far right in Germany since 1945. 17. How to revise history (and influence people?), neo-Fascist style. 18. Militant neo-Nazism in Germany. Select Bibliography. Index.
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Italian visual propaganda often makes use of well-established imagery, to exploit its proven impact. Renaissance masterpieces with religious subject matter were recurrently reproduced on political posters in the early post-war years and... more
Italian visual propaganda often makes use of well-established imagery, to exploit its proven impact. Renaissance masterpieces with religious subject matter were recurrently reproduced on political posters in the early post-war years and during the referenda campaigns of 1974 and 1981, mostly to characterise the parties as Christian. In Italy and elsewhere these images now tend to be employed in a secular way, for instance to denounce injustices and atrocities, and invite compassion and solidarity for the victims. Symbolic motifs traditionally associated with specific ideological traditions also used to feature strongly in Italian visual propaganda; they virtually disappeared in the early 1990s with the collapse of the Christian-Democrat and Socialist parties in the wake of the Mani pulite investigations, and the Communist Party’s transformation into a social-democratic party. They have been replaced by new icons. Iconographic motifs dear to fascism and Nazism, however, continue to b...
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... Voir Luciano Cheles, « Il '68 nella propaganda figurativa del Movimento Sociale Italiano », in Silvia Lasilio et Loredana Guerrieri (dir.), Il '68 diffuso. ... », paru en 1968, a été republié dans Pier Paolo Pasolini,... more
... Voir Luciano Cheles, « Il '68 nella propaganda figurativa del Movimento Sociale Italiano », in Silvia Lasilio et Loredana Guerrieri (dir.), Il '68 diffuso. ... », paru en 1968, a été republié dans Pier Paolo Pasolini, Bestemmia: tutte le poesie, Milan, Garzanti, 1993, p. 1851-1861. Retour. ...
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Interest in Piero in 19th century Britain was favoured by various factors: the influence of German historiography; the impact of the Christian school of art criticism, which viewed the art of the early Renaissance as more spiritual; the... more
Interest in Piero in 19th century Britain was favoured by various factors: the influence of German historiography; the impact of the Christian school of art criticism, which viewed the art of the early Renaissance as more spiritual; the awareness of the deterioration suffered by frescoes, which induced some art lovers to perpetuate them through copies; and the availability of detailed art guides, which encouraged artists to visit lesser-known art centres. The growing fascination with the master led some English collectors to seek his works. The article shows that, as well as the three undisputed Pieros now in the National Gallery, a host of panels rashedly ascribed to the artist entered public and private collections.
Research Interests: Iconography, Visual propaganda, Victorian Studies, Propaganda, Fascism, and 15 morePolitical communication, Portraiture, Italian Renaissance Art, Collecting and Collections, Piero della Francesca, Tourist Guidebooks, Contemporary Italian History and Politics, Extreme and Far Right, Arezzo, Political Iconography, Copies, Replicas, Reproductions, Frescoes, Fortuna, Iconography of the political leaders, and Borgo Sansepolcro
This essay deals with the ways female politicians are depicted in visual propaganda (especially political posters) in France and Italy. It shows that their representation varies considerably and is strongly dependent on the ideological... more
This essay deals with the ways female politicians are depicted in visual propaganda (especially political posters) in France and Italy. It shows that their representation varies considerably and is strongly dependent on the ideological nature of the parties. Special attention is devoted to the depiction of the leaders of the Front National, Marine Le Pen, and of Fratelli d'Italia, Giorgia Meloni. The French and Italian ways of promoting their female candidates in visual propaganda are also examined comparatively using a gender approach.
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Parties frequently appropriate propaganda images from movements belonging to the opposite end of the political spectrum. This essay considers the main forms of visual appropriation and illustrates them with examples drawn mostly from... more
Parties frequently appropriate propaganda images from movements belonging to the opposite end of the political spectrum. This essay considers the main forms of visual appropriation and illustrates them with examples drawn mostly from Italian and French post-war propaganda.
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This essay discusses the important contribution given by Italian-born artists to the Art Déco movement in America. Their works, which are stylistically quite distinctive (many draw their inspiration from the Renaissance tradition),... more
This essay discusses the important contribution given by Italian-born artists to the Art Déco movement in America. Their works, which are stylistically quite distinctive (many draw their inspiration from the Renaissance tradition), decorate important buildings such as the Rockefeller Center in New York, the Adler Planetarium in Chicago, the Liberty Memorial of Kansas City (Missouri) and the United States Court House and Post Office Building in Philadelphia.
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This essay shows how Piero's striking imagery has been appropriated by graphic artists and the picture editors of leading newspapers. Examples include commercial and propaganda posters (including some fascist, Nazi and Stalinist ones),... more
This essay shows how Piero's striking imagery has been appropriated by graphic artists and the picture editors of leading newspapers. Examples include commercial and propaganda posters (including some fascist, Nazi and Stalinist ones), stamps and current affairs photography. It also discusses Piero's presence in films.
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This essay examines the impact Piero has had on American visual culture since the late 19th century. It shows that the master appealed to, and inspired, the artists of the "American Renaissance", early 20th century modernists, the... more
This essay examines the impact Piero has had on American visual culture since the late 19th century. It shows that the master appealed to, and inspired, the artists of the "American Renaissance", early 20th century modernists, the muralists of the New Deal period, the leading Regionalist Grant Wood, the Magic Realists and post-war modernists.
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Page 1. Published by Maney Publishing (c) The Department of Italian Studies, University of Reading & Department of Italian, University of Cambridge Piero della Francesca in nineteenth-century Britain * Luciano... more
Page 1. Published by Maney Publishing (c) The Department of Italian Studies, University of Reading & Department of Italian, University of Cambridge Piero della Francesca in nineteenth-century Britain * Luciano Cheles In the ...
... colleagues and friends who responded to my requests for information, I am especially indebted to Dr. Cecil Clough, Virginia Tenzer, Amy Schwarz and ... sent shortly afterwards to Lombardy with a small army to train in the art of war... more
... colleagues and friends who responded to my requests for information, I am especially indebted to Dr. Cecil Clough, Virginia Tenzer, Amy Schwarz and ... sent shortly afterwards to Lombardy with a small army to train in the art of war with the condottiere Niccolo Piccinino, who was ...
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Page 1. THE INLAID DECORATIONS OF FEDERICO DA MONTEFELTRO'S URBINO STUDIOLO: AN ICONOGRAPHIC STUDY * by Luciano Cheles ... two vessels, dog(?) looking at mirror sword, scales, crane two-faced figure, mirror,... more
Page 1. THE INLAID DECORATIONS OF FEDERICO DA MONTEFELTRO'S URBINO STUDIOLO: AN ICONOGRAPHIC STUDY * by Luciano Cheles ... two vessels, dog(?) looking at mirror sword, scales, crane two-faced figure, mirror, dragon-snake, compasses ...
Grant Wood’s retardataire Impressionism gave way to sharply contoured and well composed geometrical forms in the second half of the 20th century. Influenced by Wood’s own claim that the transformation was due to his 1928 trip to Munich,... more
Grant Wood’s retardataire Impressionism gave way to sharply contoured and well composed geometrical forms in the second half of the 20th century. Influenced by Wood’s own claim that the transformation was due to his 1928 trip to Munich, which exposed him to early Flemish and German paintings, scholars have drawn considerable attention to the Northern features of his paintings. Yet, a perusal of the artist’s output shows that several of his best-known works, including American Gothic, are stylistically and iconographically also indebted to the Italian Renaissance, and more specifically to Piero della Francesca. The visual evidence is backed by documentary and circumstantial evidence. Piero, whose style is characterized by flat and geometrical forms, enjoyed a revival in the early twentieth century in the wake of Modernist aesthetics. There were English language books discussing his work in the college library of Wood’s home town, Cedar Rapids, and archival materials reveal that two of Wood’s closest acquaintances, the artist Marvin Cone and the director of Cedar Rapids’s art center Edward Rowan, had a special predilection for the master. The article argues that Wood did not mechanically imitate Piero’s paintings, but used them imaginatively for satirical ends.
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"Back to the Future. The Visual Propaganda of Alleanza Nazionale (1994-2009)". This is an Accepted Manuscript of an article published by Taylor & Francis in Journal of Modern Italian Studies on 13 April 2010, available online: http://www.tandfonline.com/http://dx.doi.org/10.1080/13545711003606644
Observers who have investigated Alleanza Nazionale's relationship to historical fascism have mostly relied on programmatic documents as well as Gianfranco Fini's speeches and interviews. This article tackles the same question by... more
Observers who have investigated Alleanza Nazionale's relationship to historical fascism have mostly relied on programmatic documents as well as Gianfranco Fini's speeches and interviews. This article tackles the same question by considering the visual propaganda produced by the party from its launch in 1994 to its merger with Silvio Berlusconi's Popolo della Libertà in March 2009. An examination of the logos, the portraits of Fini and other imagery that feature on posters, brochures, websites and the Secolo d'Italia shows that they frequently refer, albeit mostly covertly, to the iconographies of fascism. The contemporary visual sources used by Alleanza Nazionale and the strategies adopted to present a modern and respectable image are also explored. The article argues that much of the propaganda of Alleanza Nazionale incorporates two levels of meaning: an overt and moderate one, which addressed the general public, and a concealed one celebrating ideas and values of the Ventennio, which aimed to reassure a hard-core of activists that the party had not betrayed its original identity.
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The essay discusses the ways women were represented in the visual propaganda of the Italian far right in the second half of the 20th century. Until the early 1970s, women scarsely featured in the publicity of the Movimento Sociale... more
The essay discusses the ways women were represented in the visual propaganda of the Italian far right in the second half of the 20th century. Until the early 1970s, women scarsely featured in the publicity of the Movimento Sociale Italiano. In the wake of the women's movement, this party began to produce propaganda which was specifically directed at them. The imagery drew from a variety of sources: the illustrated magazines of the fascist period, religious iconography, film posters and, in an attempt to appear "modern", even from the propaganda of the left and far left.
Research Interests: Gender Studies, Women's Studies, Fascism, Italy (History), Feminism, and 10 moreVisual and Cultural Studies, Benito Mussolini, Fascist propaganda, Contemporary Italian History and Politics, Political Iconography, Political posters, Movimento Sociale Italiano, Socio-political Posters, Giorgio Almirante, and Postfascism
This book considers the uses of the portrait as an instrument of propaganda in both totalitarian regimes and democratic countries. Focusing on the last one hundred years and covering a wide range of countries around the globe, the volume... more
This book considers the uses of the portrait as an instrument of propaganda in both totalitarian regimes and democratic countries. Focusing on the last one hundred years and covering a wide range of countries around the globe, the volume also looks at the uses of portraiture by antagonistic groups as forms of resistance, derision and denunciation.
Research Interests: American Politics, Visual propaganda, Portraits, Iraqi History, Italian Politics, and 15 moreWomen and Politics, Soviet Union (History), German Politics, French history and politics, Mustafa Kemal Atatürk, Protest Movements, North Korea (politics and society), Benito Mussolini, Engelbert Dollfuss, Political Satire, Mao Zedong, Political leadership, Francisco Franco, Political posters, and Nicolae Ceausescu
The essay examines Piero della Francesca's impact on French art from the 1830s to the the early decades of the 20th century. It looks at the political use that some artists (e.g. Horace Vernet and Paul-Joseph Blanc) made of Piero's... more
The essay examines Piero della Francesca's impact on French art from the 1830s to the the early decades of the 20th century. It looks at the political use that some artists (e.g. Horace Vernet and Paul-Joseph Blanc) made of Piero's paintings, and focuses on the works of major artists such as Puvis de Chavannes, Maurice Denis, Matisse and Picasso, who fell under the Renaissance master's spell.
Research Interests: Iconography, Visual propaganda, Renaissance Art, Gertrude Stein, Modernism (Art History), and 15 morePiero della Francesca, Pablo Picasso, Appropriation, Imitation, Napoleon, Resurrection of Jesus, Pantheon, Arezzo, Horace Vernet, Edgar Degas, Georges Seurat, Villa Medici, Sansepolcro, Puvis de Chavannes, and Nineteenth Century French Painting
The essay examines Piero della Francesca's impact on British visual culture from the early 19th century to the 1960s. It deals with the earliest copies (engravings, tracings, sketches, chromo-lithographs...) as well as with works that... more
The essay examines Piero della Francesca's impact on British visual culture from the early 19th century to the 1960s. It deals with the earliest copies (engravings, tracings, sketches, chromo-lithographs...) as well as with works that sought inspiration from the master's paintings. It dwells on Edward Burne-Jones, and on the artists of the Bloomsbury Group (especially Duncan Grant and Vanessa Bell) whose enthusiasm for Piero bordered on cult.
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In the early post-war period, the Italian Communist Party rejected any form of publicity centred on its leader, Palmiro Togliatti. However, the attempt on his life, in July 1948, triggered a cult which the party was happy to encourage.... more
In the early post-war period, the Italian Communist Party rejected any form of publicity centred on its leader, Palmiro Togliatti. However, the attempt on his life, in July 1948, triggered a cult which the party was happy to encourage. The promotion of Togliatti's leadership also found expression in numerous portraits. This essay examines the posters and postcards that were produced by the Communist Party to mark various occasions: Togliatti's return to active political life after his attempted assassination, his 60th birthday, the 30th anniversary of the party's foundation, the parliamentary elections of 1953, and Togliatti’s funeral. The analysis of the visual sources reveals the extent to which the portraits imitated those of Lenin and Stalin produced in the Soviet Union.
Research Interests: Visual propaganda, Portraits, Graphic Design, Political Violence and Terrorism, Communism, and 15 moreVisual Communication, Lenin, Russian & Soviet Art, Postcards, Antonio Gramsci, Italian fascism, Benito Mussolini, Enrico Berlinguer, Palmiro Togliatti, Festa Dell'Unità, Partito comunista italiano, Stalin, Political posters, Alcide De Gasperi, and Maurice Thorez
Il ritratto è il genere figurativo tra i più utilizzati nell'ambito della comunicazione politica, in cui l'esigenza propagandistica si appoggia al potere emotivo delle immagini. Riprodotto su supporti di vario tipo - statue, dipinti,... more
Il ritratto è il genere figurativo tra i più utilizzati nell'ambito della comunicazione politica, in cui l'esigenza propagandistica si appoggia al potere emotivo delle immagini. Riprodotto su supporti di vario tipo - statue, dipinti, fotpografie, manifesti, ecc. - il ritratto raffigura chi governa o aspira a governare sotto una luce favorevole e gli conferisce il dono dell'ubiquità. Focalizzando l'attenzione su Francia e Italia, il volume affronta l'argomento esaminando varie tipologie di ritratti: al centro dell'analisi sono soprattutto i candidati riprodotti sui manifesti elettorali, le personalità politiche e le first Ladies che compaiono sulle riviste, le raffigurazioni di leader sulle copertine di volumi e quelle diffuse dai politici sui social network, incluse le loro rappresentazioni satiriche.
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This bi-lingual catalogue illustrates the colour drawings inspired by Piero della Francesca which the New York graphic artist Milton Glaser realised during a sojourn in Tuscany. It includes an essay by Luciano Cheles on American... more
This bi-lingual catalogue illustrates the colour drawings inspired by Piero della Francesca which the New York graphic artist Milton Glaser realised during a sojourn in Tuscany. It includes an essay by Luciano Cheles on American fascination with Piero and an interview with the artist by Fabio Patti. A selection of posters designed by Glaser on a range of social and cultural themes also features in the volume.
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The pictures shown here relate to the text of the essay ""Immagini presidenziali nel tempo presente: Francia e Italia".
This essay (from Maurizio Ridolfi ed., Presidenti. Storia e costumi della Repubblica nell'Italia democratica, Viella, Rome, 2014) compares the iconography of presidential portraiture in Italy and France. The depiction of candidates in the... more
This essay (from Maurizio Ridolfi ed., Presidenti. Storia e costumi della Repubblica nell'Italia democratica, Viella, Rome, 2014) compares the iconography of presidential portraiture in Italy and France. The depiction of candidates in the visual propaganda of presidential elections in France is also discussed.