Longhi 1950: la buona critica d'arte (original) (raw)
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Predella, 48 , 2020
The article analyzes an essay by Roberto Longhi, focused on 13th-century painting and considered to be particularly controversial. By comparing the scientific debate and the analysis of the strong contrasts among prominent members of the Italian academic community in the years following the second world war, the article clarifies some of the underlying reasons that stand behind Longhi’s essay.
"Il Borghese" e le arti figurative negli anni di Longanesi (1950-1957)
I periodici illustrati nell’Italia del secondo dopoguerra: Testo e immagine tra arte, cinema e letteratura, convegno (Milano, Università IULM, Sala Seminari, 30 novembre-1 dicembre), 2023
Sotto il profilo dell’indagine scientifica, la poliedrica figura di Leo Longanesi (1905-1957) ha ricevuto particolare attenzione a partire dagli anni Novanta del XX secolo e del primo centenario della nascita. Se, relativamente al suo cruciale ruolo nell’editoria illustrata e al rapporto con gli artisti, ampio spazio è stato riservato a “Omnibus” (1937-1939), meno studiata è la stagione alla guida de “Il Borghese”, che Longanesi fondò nel 1950 e diresse fino alla morte. D’indirizzo conservatore, ma estremamente critica, specie nei suoi primi anni di edizione, la rivista fu contraddistinta da una precisa visione illustrativa, perlopiù affidata all’estro longanesiano, privilegiante, a partire dalla copertina, la grafica d’artista. Il contributo intende sondare le scelte redazionali in materia di arti visive e il ruolo esercitato dagli artisti, primo tra tutti l’amico Alberto Savinio, nella figurazione del periodico. Un focus particolare sarà posto sulle soluzioni iconografiche e formali delle copertine delle annate 1954-1955, in cui furono edite sia opere grafiche di protagonisti della storia artistica internazionale tra la fine dell’Ottocento e la prima metà del Novecento (Munch, Toulouse-Lautrec, Chagall), sia quelle d’illustratori e designer contemporanei (Steinberg, Fornasetti). La riflessione sulle linee editoriali e sulla politica delle immagini verrà, inoltre, correlata all’avanzamento del dibattito critico e della conoscenza, da parte del pubblico, di questi artisti, attraverso eventi espositivi e rassegne.
La critica d'arte in Domus tra '48 e '58
La critica d'arte in Domus tra '48 e '58, 2022
Attraverso un regesto effettuato sui numeri di «Domus», sono emersi alcuni filoni di critica d'arte particolarmente significativi. Sono stati presi in considerazione sedici articoli del decennio, di cui nove trattano di Lucio Fontana, due sono stati il punto di partenza per lo sviluppo del discorso sulla ceramica e tre hanno fatto emergere l’interessante legame tra la rivista, Gio Ponti e le realtà museali. Gli altri due sono stati usati per approfondire e fare confronti.
«Un vero e proprio film»: Longhi, Briganti e 'La Maniera italiana' (1961)
Il libro d'arte in Italia (1935-1965), a cura di Massimo Ferretti, Pisa, Edizioni della Normale, pp. 207-218, 2021
The essay offers a detailed analysis of Giuliano Briganti's book «La Maniera italiana», which was published in 1961 as the first volume of a series of books entirely illustrated with color photographs, edited by Editori Riuniti in collaboration with the GDR-based Verlag der Kunst (Dresden). Thanks to unpublished files, this study reconstructs the story of a singular episode of art-historical popularisation in which Roberto Longhi was editor-in-chief and the art critic Antonio Del Guercio was responsible for the editorial office.
Storie di critica d'arte, 2007
These ‘stories’ left among the Author’s writings either because translated into foreign languages, rarely read by us — such as Rumanian, Turkish or even English — or put on the side on hold, willing to be published. Such stories mark up in an evocative way (not diachronically), a period of time spanning from present back to the ‘70s, similar to a still open laboratory. These ‘stories’ are built up behind the shadows of thought and psychoanalytic experience — which have irremediably changed the way of writing history and about history , radically disrupting any more or less conscious practice of acquiescent submission to a subject of knowledge and to a jargon, either imposed or agreed upon, to normalize, expropriate and neutralize. These 'stories' are primarily directed and are still aiming at questioning the institutional grounds of art history and of ‘conventional’ art criticism whenever happens that the art historian or critic either cannot or does not like to understand that he is — literally — the inventor of what he proposes to himself and the others as the matter of his vision and/or interpretation. Similarly, the images, through which he constructs his own quest for the lost or failing time, do not see him facing a given and unquestionably shared object but a signifier which, attractive or repelling it might be, is unavoidable toward the interplay of visible and invisible which, although internal to the psyche, cannot be considered less rigorous.
Annali Online Lettere Ferrara, 2020
La scultura alla Biennale di Venezia del 1950. Note di mercato e di critica dai registri di vendita e dalla coeva rassegna stampa Abstract: The contribution aims to consider the dimension of sculpture at the Venice Biennial in 1950. It is an emblematic case study aiming to analyze sculptural research dynamics immediately after World War II in relation to its critical reception and, specifically, to this segment of the art market. The essay describes the literature about sculpture in the post war Biennials and previous studies which investigate the problem of the sales, analyzing original sources and documents. Along with the catalogue, many other materials kept by Archivio Storico delle Arti Contemporanee (ASAC) were considered, including copies of the sales registers compiled by head of Ufficio vendite Ettore Gian Ferrari, minutes of the commission for the visual arts chaired by Rodolfo Pallucchini and coeval press review. The study is a first analysis about the logic behind the market of contemporary sculpture, in a decade that saw the rising of a new concept of sculpture that overcome the traditional meaning of sculpture which still had its roots in the 19th Century.
Romanziere lucidissimo: critica d’arte e narratività nella scrittura di Roberto Longhi
Studi di Memofonte, 2017
Roberto Longhi has been defined by Cesare Garboli as «a very clear-headed novelist», an expression that stresses on the fundamental component of his production: art critic research intermingled with the literary and narrative value of a text itself. According to Longhi, literature is the only possible way through which the execution of figurative art can be translated: the following essay wishes to go back through the work of many scholars focused on this theme, showing the report about an original lexicographic study. In closing, we offer a confirmation of those considerations which comes directly from the creative workshop of the writer, through the transcription and the analysis of the unpublished text Ultimissime 1940.
Tra letteratura e critica d'arte. I Classici dell'Arte Rizzoli (1966-1985)
The series I Classici dell'arte is composed by one hundred and eleven monographics, published by the publishing house Rizzoli, between 1966 and 1985. Each of them opens with a presentation of the the artist and his work, that in many cases bears the signature of famous authors of our contemporary literature. This contribution is a first attempt to classify the different methods of approach implemented by writers and poets dealing with critical writing. Starting from the identification of three textual macro-categories, we procedeed with the analysis of the micro-stylistic aspects (such as rethorical, syntactic and grammatical) and at the same time we observed the thematic and formal analogies found between the writer and the artist.