Books by Giulio Brevetti
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Four years after the publication of the volume I, the Queen, this second collection of studies fo... more Four years after the publication of the volume I, the Queen, this second collection of studies focused on Maria Carolina of Habsburg-Lorraine highlights how much there is still much to explore around this controversial figure and her time.
As in the first volume, the curators have tried to privilege the interdisciplinary dimension, with essays on historiography and political history, culture and material life, history and art criticism, music and theater, in the conviction that this methodology allows the knowledge of a historical era in its many aspects.
Maria Carolina thus once again offered the opportunity to deepen a historical time marked by political and cultural transformations that have swept the European continent. And therefore new reflections on the queen's politics, on relations with her brothers, on the love for music, on the acute use of culture and the visual arts, even on cooking and clothing.
Much space was then dedicated to iconography and images with reproductions of famous works and other unpublished or lesser-known ones.
A distanza di quattro anni dall’uscita del volume Io, la Regina, questa seconda raccolta di studi incentrata su Maria Carolina d’Asburgo-Lorena evidenzia quanto intorno a tale discussa figura e al suo tempo vi sia ancora tanto da esplorare.
Come nel primo volume, i curatori hanno cercato di privilegiare la dimensione interdisciplinare, con saggi di storiografia e di storia politica, di cultura e vita materiale, di storia e critica d’arte, di musica e teatro, nella persuasione che tale metodologia permetta la conoscenza di un’epoca storica nei suoi molteplici aspetti.
Maria Carolina ha così offerto ancora una volta l’occasione per approfondire un tempo storico segnato da trasformazioni politiche e culturali che hanno percorso il continente europeo. E quindi nuove riflessioni sulla politica della regina, sui rapporti con i fratelli, sull’amore per la musica, sull’acuto utilizzo della cultura e delle arti figurative, persino sulla cucina e sull’abbigliamento.
Largo spazio è stato poi dedicato all’iconografia e alle immagini con riproduzioni di celebri opere e di altre inedite o meno note.
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a cura di G. Brevetti, Palermo, Palermo University Press, 2019
The genre of portrait, associated with the visual arts and combined through different expressive ... more The genre of portrait, associated with the visual arts and combined through different expressive techniques, represents an interesting field of application for the experimentation of a plurality of methods of investigation, each of them capable of contributing, from its particular approach perspective, to the overall understanding of polysemiche works of art related to the representation of the face and the human figure. The aim of this collection of studies on the history of portraiture, result of an intense Study Day held at the Department of Literature and Cultural Heritage of the University of Campania "Luigi Vanvitelli" on 12 October 2017, is to offer a brief but significant contribution exclusively from the historical-artistic perspective through eleven contributions by eleven Italian scholars - of different generations and interests - invited to confront each other, who again and who for the first time, with the genre of the portrait.
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Palermo, Palermo University Press, 2018
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Who has been Maria Carolina Habsburg-Lorraine and what has she embodied for the Kingdoms of Naple... more Who has been Maria Carolina Habsburg-Lorraine and what has she embodied for the Kingdoms of Naples and Sicily? Conceived after the Bicentennial of her death, this volume analyzes the complex personality and the many-sided figure of the controversial queen through some original analyses and innovative interpretations in an interdisciplinary itinerary that involves a group of scholars invited to discuss some specific aspects of her life and epoch: Giulio Sodano reflects on the female power during the Old Regime, with particular regard to the construction of the female royalty in the early modern centuries; Giuseppe Cirillo lingers on the political reforms of the Bourbon Kingdom; Elisa Novi Chavarria faces the relationship of the queen with the faith mediated by the figure of the confessor; Gianluca Del Mastro the Ancient and Herculaneum; Francesco Cotticelli and Paologiovanni Maione the theatre, the music and the show business; Paola Zito the love for books and for her private library; Vega de Martini the jewelry; Eva Baumgartner her hometown Vienna; Giulio Brevetti her pictorial iconography. Therefore this is a collective book which does not yearn for the definitive word on the most intelligent daughter of Maria Theresa but rather to prompt, as evident in the Introduction by Sodano and Brevetti, other and different researches on this personality not many studied and, for better or for worse, extraordinary.
Chi è stata davvero Maria Carolina d’Asburgo-Lorena e cosa ha rappresentato per le sorti dei Regni di Napoli e di Sicilia? Nato sulla spinta del Bicentenario della morte, questo volume analizza la complessa personalità e la sfaccettata figura della discussa regina tramite alcune originali letture e inedite interpretazioni seguendo un percorso interdisciplinare che coinvolge specialisti di diversi settori invitati a ragionare su alcuni specifici aspetti della sua vita e dell’epoca nella quale vive e opera: Giulio Sodano riflette sul potere delle donne in antico regime, con particolare attenzione alla costruzione della regalità femminile nei secoli dell’età moderna; Giuseppe Cirillo si sofferma sulle riforme politiche del Regno borbonico; Elisa Novi Chavarria affronta il rapporto della sovrana con la fede mediato dalla figura del confessore; Gianluca Del Mastro quello con l’Antico e gli scavi di Ercolano; Francesco Cotticelli e Paologiovanni Maione quello con il teatro, la musica e in generale col mondo dello spettacolo; Paola Zito l’amore per i libri e per la sua biblioteca; Vega de Martini quello per l’oreficeria; Eva Baumgartner quello con Vienna, sua culla e tomba; Giulio Brevetti quello con la propria immagine, e dunque con l’iconografia pittorica ufficiale. Un lavoro collettaneo, dunque, che non ambisce a sancire una parola definitiva sulla figlia più intelligente di Maria Teresa nonché moglie ingombrante di Ferdinando IV di Borbone, quanto piuttosto a suggerire, come si evince dall’Introduzione dei curatori Sodano e Brevetti, altre e future ricerche su questo personaggio ancora oggi poco studiato e a suo modo, nel bene e nel male, straordinario.
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Papers by Giulio Brevetti
"Diálogos con Pasolini - Dialogues avec Pasolini - Dialogues with Pasolini - Dialoghi con Pasolini", in "eu-topias", 27, 2024, pp. 91-97
Pupil of Roberto Longhi, the most influential historical and Italian art critic
of the twentieth ... more Pupil of Roberto Longhi, the most influential historical and Italian art critic
of the twentieth century, Pier Paolo Pasolini kept in mind the lesson of that
teacher in the construction of his images, sometimes inspired by Renaissance and Mannerist paintings. But in addition to these well -known iconographic references in his movies, reflections on creative act and art in general are often found. The essay therefore aims to focus on some of these moments and to comment on specifically the figures of the artists who appear in some of his films, such as Giotto’s pupil by the same director played in the Decameron or as the director played by Orson Welles in La Ricotta. Through a reading of these examples, it will try to offer an interpretation of the author’s gaze on art and on the humans’ need to create and produce artistic artifacts.
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"Luigi Vanvitelli, il Maestro e la sua eredità (1773-2023)", a cura di T. Maffei, F. Mangone, L. Gallo, Ancona, Il Lavoro, 2024, pp. 293-305
Beyond the technical aspects linked to the construction of the Caroline Aqueduct, this contributi... more Beyond the technical aspects linked to the construction of the Caroline Aqueduct, this contribution aims to analyze the vast and heterogeneous printed iconographic corpus that over two centuries accompanied the narration of a so grandiose undertaking that it obscured the fame of the more celebrated Royal Palace of Caserta, and decisive in the overall critical fortune of the figure of Luigi Vanvitelli. An ideal journey that begins with the refined late eighteenth-century engravings and then continues with the ‘pictorial journeys’ and the illustrated periodicals so widespread in the first half of the nineteenth century, to finally end with the images of the first Risorgimento and the immediately following decades. We will thus
reflect on the singular process of ‘conversion’ of the aqueduct from a grandiloquent and self-celebratory testimony of the Ancien Régime to a symbol of the sacrifice of many Garibaldians in the struggle for liberation from Bourbon oppression.
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"I 'momenti traenti' della Storia dell'arte. Studi in memoria di Ferdinando Bologna", a cura di R. Cioffi, G. Brevetti, Quaderni di Polygraphia, 7, 2023, pp. 33-49.
In 1954, at the age of just twenty-nine, Ferdinando Bologna was the curator, together with the mo... more In 1954, at the age of just twenty-nine, Ferdinando Bologna was the curator, together with the more mature Gino Doria, of the Mostra del ritratto storico napoletano, an exhibition still today considered exemplary for several reasons: from a cultural point of view, an unrepeatable and unrepeated opportunity to trace a history of the South through the most representative and significant faces of those who have marked it with their presence; from an aesthetic point of view, an extraordinary possibility of admiring known and unpublished portraits made by great artists of past centuries, mostly from the South; from an organizational point of view, a precise indication of method, and that is to proceed towards a balanced selection of works that could balance the historical and historical-artistic aspects. The essay therefore intends to reconstruct and highlight what still today constitutes an essential chapter for the history of portraiture in Italian studies. The first paragraph reviews some attempts to create a visual history of the South, starting from the suggestions of Croce to arrive at October 1954, when at the same time as the opening of the exhibition on the portrait set up at the Royal Palace of Naples, Carosello napoletano by Ettore Giannini was shown on the big screen. The second paragraph analyzes the reference models and the methodology used in the exhibition, dividing the selected portraits into three distinct iconographic typologies in order to identify the socio-cultural categories taken into consideration. Finally, the third paragraph discusses the legacy of the exhibition and its catalogue, focusing on some reviews published between the end of 1954 and the beginning of 1955 and recalling only some of the repercussions that these products had on subsequent historical-artistic studies.
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Carlos de Borbón (1716-1788) was represented in numerous portraits. His personal and political hi... more Carlos de Borbón (1716-1788) was represented in numerous portraits. His personal and political history logically influenced the iconography of these works of art, subject to «changes in taste» and entrusted to outstanding, international artists: some were Spanish, such as Meléndez, Maella or Goya, others were French, like Ranc and Van Loo; and again Genoese, like Molinaretto; Parmesans, like Sebastiani and Liani; Neapolitans, such as Solimena and Bonito; Czechs, like Mengs. These portraits, painted in different countries, times, and artistic trends, reflect, as a whole, the relationship between the national schools of painting and the stylistic transition from late baroque to neoclassicism. The present paper examines all of these aspects, and explains how those representations have reached the cinema, in terms of distinctive features.
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"Confronto. Studi e ricerche di storia dell'arte europea", 5, 2022, pp. 179-198
ITA: Il Luca Giordano di Enzo Petraccone rappresenta il primo moderno tentativo di leggere l’oper... more ITA: Il Luca Giordano di Enzo Petraccone rappresenta il primo moderno tentativo di leggere l’opera del grande pittore del Seicento e di inquadrare la sua figura nel contesto del suo tempo. Influenzato dall’estetica di Croce ma non privo di autonomia di giudizio, il giovane studioso scrisse la monografia nel corso del 1914, dopo aver viaggiato molto e aver scandagliato biblioteche, archivi, musei e collezioni private. Partito per la guerra, morì il 15 giugno 1918 senza vedere pubblicato il suo lavoro. Sarebbe stato Croce a curare la versione editoriale nel 1919 che raccolse critiche generalmente positive e una stroncatura destinata a pesare negli studi futuri: quella di Roberto Longhi, coetaneo di Petraccone ma già penna di riferimento della critica italiana che, nel rispondere agli attacchi ricevuti dallo studioso lucano in merito al suo metodo di lettura delle opere, giudicò negativamente il volume, valutando ancora poco maturo il suo autore. Questo saggio intende analizzare l’opera di Petraccone, soffermandosi tanto sulle fonti e sul metodo adoperati quanto sul giudizio che egli diede di Giordano, nel tentativo di comprendere quale sia stato il suo ruolo negli studi successivi sul pittore e cosa abbia rappresentato la querelle a distanza con Longhi.
ENG: Luca Giordano by Enzo Petraccone represents the first modern attempt to interpret the work of the great seventeenth century painter and to integrate him into the context of his time. Influenced by the aesthetics of Croce but not without his own judgements, the young scholar wrote the monograph throughout the course of 1914, after having traveled to and found leads in many libraries, archives, museums and private collections. He departed for the war, dying on 15 June 1918 without seeing the publication of his work. Croce went on to edit the version published in 1919 that generally earned positive criticism plus one very bad review which would be influential in future studies: that of Roberto Longhi, a contemporary of Petraccone but already an acknowledged reference in Italian criticism, who had criticized the Basilicata scholar’s method of reading the works, assessing it as indicative of the author’s immaturity. This essay intends to analyze the work of Petraccone focusing on much of the sources and the method adopted for his judgements on Giordano, in an attempt to understand the role he played in successive studies about the painter and the significance of his controversy with Longhi.
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"Dulcis labor. Studi offerti a Maria Luisa Chirico", a cura di C. Buongiovanni, M. Civitillo, G. Del Mastro, G. Nardiello, C. Pepe, A. Sacerdoti, in Quaderni di Polygraphia, 5, 2022, pp. 275-286
From the very beginning, cinema has shown a natural predisposition to tell stories of teachers an... more From the very beginning, cinema has shown a natural predisposition to tell stories of teachers and students, to set events in school buildings, to follow the formation path of the youngest sitting behind the desks. Within this large trend, it is worth pausing to think about the space for teaching Latin and Greek in the Italian movies, following three directives. The first reflects on the prestigious position that the role of the teacher, and especially of classical subjects, occupied in Italian society during the first half of the twentieth century, analyzing a film shot immediately after the end of the Second World War and focused on the aspirations of a father, for years janitor of a Roman high school, who dreams of a career as a Latin teacher for his son. The second is instead oriented to think about the
vision of the school and the teaching of classical culture in the Fascist era offered by a single author and master of world cinema such as Federico Fellini. The third, finally, looks at the figure of the teacher of these subjects
and his role in society from the Second World War to the present day, dominated by the implications on teaching determined by the persistence of the pandemic situation.
Sin dai primordi, il cinema ha mostrato una naturale predisposizione a raccontare storie di docenti e di studenti, ad ambientare vicende negli edifici scolastici, a seguire il cammino di formazione dei più giovani seduti dietro ai banchi. All’interno di questo nutrito filone, vale la pena soffermarsi a ragionare sullo spazio dedicato dalla cinematografia
italiana all’insegnamento del latino e del greco, seguendo tre direttive. La prima riflette sulla posizione di prestigio che il ruolo del docente, e in special modo di materie classiche, occupava nella società italiana durante
la prima metà del Novecento, analizzando una pellicola girata subito dopo la fine della Seconda guerra mondiale e incentrata sulle aspirazioni di un genitore, per anni bidello di un liceo romano, che sogna per il proprio figlio una carriera da professore di latino. La seconda è invece orientata a ragionare sulla visione della scuola e dell’insegnamento della cultura classica in epoca fascista offerta da un singolo autore e maestro della cinematografia mondiale come Federico Fellini. La terza, infine, getta uno sguardo sulla figura del docente di tali materie e sul suo ruolo nella società a partire dalla Seconda guerra mondiale fino ai giorni attuali, dominati dai risvolti sull’insegnamento determinati dal perdurare della situazione pandemica.
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"O retrato. Teoria, prática e ficçao. De Francisco de Holanda a Susan Sontag", edd. A. Jordan Gschwend, F.A.B. Pereira, M.J. Gamito, Universidade de Lisboa, 2022, pp. 475-487
The contribution aims to focus on the portrait presence within the films interpreted as a diegeti... more The contribution aims to focus on the portrait presence within the films interpreted as a diegetic element, an object that in many cases acts as a motor of the story narrated or as a disruptive element. Just like in the case of the television series 'The Crown', that has offered new and significant insights into the portraiture practice and its multiple meanings.
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"Valori tattili", 18, 2021, pp. 60-71.
An unpublished portrait signed by Giuseppe Cammarano and dated 1819 turns out to be a surprising ... more An unpublished portrait signed by Giuseppe Cammarano and dated 1819 turns out to be a surprising novelty at least for two reasons. The first concerns the subject, to be identified with a very young Vincenzo Bellini, depicted in the period of his arrival in Naples from Sicily: the painting thus contributes to enrich the large iconographic gallery of the great musician. The second reason concerns the absolute quality of the work, such as to cast a completely new look at the painter’s activity who is still waiting for a monographic study that sheds light on his entire production.
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"Amori, passioni, nostalgie", Archivi delle emozioni, ISSN 2723-925X, v. 2, n. 2, 2021, pp. 109-126.
The paper offers an interpretation of Sorrentino’s last film in relation to some famous precedent... more The paper offers an interpretation of Sorrentino’s last film in relation to some famous precedents by Fellini and Tornatore in which a similar story is told, that of the director’s youthful fascination with cinema and the choice to undertake that career leaving the hometown to move to Rome. After a brief history of this sub-thread, Sorrentino’s film will be analyzed through three specific directives: memory, the relationship with Naples, the role of cinema.
Quest'opera è coperta da licenza Creative Commons 4.0 licenza internazionale.
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"Finis coronat opus. Saggi in onore di Rosanna Cioffi", a cura di G. Brevetti, A. Di Benedetto, R. Lattuada, O. Scognamiglio, Todi, D’Arte, 2021, pp. 285-291.
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"Storia della Critica d’arte - Annuario della S.I.S.C.A.", 2021, pp. 169-197.
The Italian studies on the German painter Wilhelm Tischbein – but we should actually say Neapolit... more The Italian studies on the German painter Wilhelm Tischbein – but we should actually say Neapolitans studies because they focus almost exclusively on the period spent in the shadow of Vesuvius and largely conducted by Neapolitan scholars – have marked by a long misunderstanding and, in some cases, by a real removal due to ostracism towards the neoclassical language, that of the Italian Tischbein. Therefore, reconstructing and analyzing the Italian studies on the German painter necessarily involves crossing and retracing those on neoclassicism tout court, and southern specifically. Starting from the first speculations by Benedetto Croce in 1897, the essay traces the main interventions
on the painter, negative for the most of the Twentieth century, up to the most recent contributions in which a Masonic interpretation of his figure and some of his works is offered.
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"Fontes. Rivista di iconografia e storia della critica d'arte", nuova serie, 2 (L'autorappresentazione come autoconsapevolezza dell'artista), 2021, pp. 107-118.
The attention of the studies to the portrait production of Wilhelm Tischbein is still very lackin... more The attention of the studies to the portrait production of Wilhelm Tischbein is still very lacking today. Even more neglected is the subgenre of the self-portrait in its various forms, representing for Tischbein a field of experimentation that deserves to be read and examined in its entirety, starting with the six pictorial examples known so far, of which an interpretation relating to the role that each of them plays in marking a specific period of the artist’s life is here offered.
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Books by Giulio Brevetti
As in the first volume, the curators have tried to privilege the interdisciplinary dimension, with essays on historiography and political history, culture and material life, history and art criticism, music and theater, in the conviction that this methodology allows the knowledge of a historical era in its many aspects.
Maria Carolina thus once again offered the opportunity to deepen a historical time marked by political and cultural transformations that have swept the European continent. And therefore new reflections on the queen's politics, on relations with her brothers, on the love for music, on the acute use of culture and the visual arts, even on cooking and clothing.
Much space was then dedicated to iconography and images with reproductions of famous works and other unpublished or lesser-known ones.
A distanza di quattro anni dall’uscita del volume Io, la Regina, questa seconda raccolta di studi incentrata su Maria Carolina d’Asburgo-Lorena evidenzia quanto intorno a tale discussa figura e al suo tempo vi sia ancora tanto da esplorare.
Come nel primo volume, i curatori hanno cercato di privilegiare la dimensione interdisciplinare, con saggi di storiografia e di storia politica, di cultura e vita materiale, di storia e critica d’arte, di musica e teatro, nella persuasione che tale metodologia permetta la conoscenza di un’epoca storica nei suoi molteplici aspetti.
Maria Carolina ha così offerto ancora una volta l’occasione per approfondire un tempo storico segnato da trasformazioni politiche e culturali che hanno percorso il continente europeo. E quindi nuove riflessioni sulla politica della regina, sui rapporti con i fratelli, sull’amore per la musica, sull’acuto utilizzo della cultura e delle arti figurative, persino sulla cucina e sull’abbigliamento.
Largo spazio è stato poi dedicato all’iconografia e alle immagini con riproduzioni di celebri opere e di altre inedite o meno note.
Chi è stata davvero Maria Carolina d’Asburgo-Lorena e cosa ha rappresentato per le sorti dei Regni di Napoli e di Sicilia? Nato sulla spinta del Bicentenario della morte, questo volume analizza la complessa personalità e la sfaccettata figura della discussa regina tramite alcune originali letture e inedite interpretazioni seguendo un percorso interdisciplinare che coinvolge specialisti di diversi settori invitati a ragionare su alcuni specifici aspetti della sua vita e dell’epoca nella quale vive e opera: Giulio Sodano riflette sul potere delle donne in antico regime, con particolare attenzione alla costruzione della regalità femminile nei secoli dell’età moderna; Giuseppe Cirillo si sofferma sulle riforme politiche del Regno borbonico; Elisa Novi Chavarria affronta il rapporto della sovrana con la fede mediato dalla figura del confessore; Gianluca Del Mastro quello con l’Antico e gli scavi di Ercolano; Francesco Cotticelli e Paologiovanni Maione quello con il teatro, la musica e in generale col mondo dello spettacolo; Paola Zito l’amore per i libri e per la sua biblioteca; Vega de Martini quello per l’oreficeria; Eva Baumgartner quello con Vienna, sua culla e tomba; Giulio Brevetti quello con la propria immagine, e dunque con l’iconografia pittorica ufficiale. Un lavoro collettaneo, dunque, che non ambisce a sancire una parola definitiva sulla figlia più intelligente di Maria Teresa nonché moglie ingombrante di Ferdinando IV di Borbone, quanto piuttosto a suggerire, come si evince dall’Introduzione dei curatori Sodano e Brevetti, altre e future ricerche su questo personaggio ancora oggi poco studiato e a suo modo, nel bene e nel male, straordinario.
Papers by Giulio Brevetti
of the twentieth century, Pier Paolo Pasolini kept in mind the lesson of that
teacher in the construction of his images, sometimes inspired by Renaissance and Mannerist paintings. But in addition to these well -known iconographic references in his movies, reflections on creative act and art in general are often found. The essay therefore aims to focus on some of these moments and to comment on specifically the figures of the artists who appear in some of his films, such as Giotto’s pupil by the same director played in the Decameron or as the director played by Orson Welles in La Ricotta. Through a reading of these examples, it will try to offer an interpretation of the author’s gaze on art and on the humans’ need to create and produce artistic artifacts.
reflect on the singular process of ‘conversion’ of the aqueduct from a grandiloquent and self-celebratory testimony of the Ancien Régime to a symbol of the sacrifice of many Garibaldians in the struggle for liberation from Bourbon oppression.
ENG: Luca Giordano by Enzo Petraccone represents the first modern attempt to interpret the work of the great seventeenth century painter and to integrate him into the context of his time. Influenced by the aesthetics of Croce but not without his own judgements, the young scholar wrote the monograph throughout the course of 1914, after having traveled to and found leads in many libraries, archives, museums and private collections. He departed for the war, dying on 15 June 1918 without seeing the publication of his work. Croce went on to edit the version published in 1919 that generally earned positive criticism plus one very bad review which would be influential in future studies: that of Roberto Longhi, a contemporary of Petraccone but already an acknowledged reference in Italian criticism, who had criticized the Basilicata scholar’s method of reading the works, assessing it as indicative of the author’s immaturity. This essay intends to analyze the work of Petraccone focusing on much of the sources and the method adopted for his judgements on Giordano, in an attempt to understand the role he played in successive studies about the painter and the significance of his controversy with Longhi.
vision of the school and the teaching of classical culture in the Fascist era offered by a single author and master of world cinema such as Federico Fellini. The third, finally, looks at the figure of the teacher of these subjects
and his role in society from the Second World War to the present day, dominated by the implications on teaching determined by the persistence of the pandemic situation.
Sin dai primordi, il cinema ha mostrato una naturale predisposizione a raccontare storie di docenti e di studenti, ad ambientare vicende negli edifici scolastici, a seguire il cammino di formazione dei più giovani seduti dietro ai banchi. All’interno di questo nutrito filone, vale la pena soffermarsi a ragionare sullo spazio dedicato dalla cinematografia
italiana all’insegnamento del latino e del greco, seguendo tre direttive. La prima riflette sulla posizione di prestigio che il ruolo del docente, e in special modo di materie classiche, occupava nella società italiana durante
la prima metà del Novecento, analizzando una pellicola girata subito dopo la fine della Seconda guerra mondiale e incentrata sulle aspirazioni di un genitore, per anni bidello di un liceo romano, che sogna per il proprio figlio una carriera da professore di latino. La seconda è invece orientata a ragionare sulla visione della scuola e dell’insegnamento della cultura classica in epoca fascista offerta da un singolo autore e maestro della cinematografia mondiale come Federico Fellini. La terza, infine, getta uno sguardo sulla figura del docente di tali materie e sul suo ruolo nella società a partire dalla Seconda guerra mondiale fino ai giorni attuali, dominati dai risvolti sull’insegnamento determinati dal perdurare della situazione pandemica.
Quest'opera è coperta da licenza Creative Commons 4.0 licenza internazionale.
on the painter, negative for the most of the Twentieth century, up to the most recent contributions in which a Masonic interpretation of his figure and some of his works is offered.
As in the first volume, the curators have tried to privilege the interdisciplinary dimension, with essays on historiography and political history, culture and material life, history and art criticism, music and theater, in the conviction that this methodology allows the knowledge of a historical era in its many aspects.
Maria Carolina thus once again offered the opportunity to deepen a historical time marked by political and cultural transformations that have swept the European continent. And therefore new reflections on the queen's politics, on relations with her brothers, on the love for music, on the acute use of culture and the visual arts, even on cooking and clothing.
Much space was then dedicated to iconography and images with reproductions of famous works and other unpublished or lesser-known ones.
A distanza di quattro anni dall’uscita del volume Io, la Regina, questa seconda raccolta di studi incentrata su Maria Carolina d’Asburgo-Lorena evidenzia quanto intorno a tale discussa figura e al suo tempo vi sia ancora tanto da esplorare.
Come nel primo volume, i curatori hanno cercato di privilegiare la dimensione interdisciplinare, con saggi di storiografia e di storia politica, di cultura e vita materiale, di storia e critica d’arte, di musica e teatro, nella persuasione che tale metodologia permetta la conoscenza di un’epoca storica nei suoi molteplici aspetti.
Maria Carolina ha così offerto ancora una volta l’occasione per approfondire un tempo storico segnato da trasformazioni politiche e culturali che hanno percorso il continente europeo. E quindi nuove riflessioni sulla politica della regina, sui rapporti con i fratelli, sull’amore per la musica, sull’acuto utilizzo della cultura e delle arti figurative, persino sulla cucina e sull’abbigliamento.
Largo spazio è stato poi dedicato all’iconografia e alle immagini con riproduzioni di celebri opere e di altre inedite o meno note.
Chi è stata davvero Maria Carolina d’Asburgo-Lorena e cosa ha rappresentato per le sorti dei Regni di Napoli e di Sicilia? Nato sulla spinta del Bicentenario della morte, questo volume analizza la complessa personalità e la sfaccettata figura della discussa regina tramite alcune originali letture e inedite interpretazioni seguendo un percorso interdisciplinare che coinvolge specialisti di diversi settori invitati a ragionare su alcuni specifici aspetti della sua vita e dell’epoca nella quale vive e opera: Giulio Sodano riflette sul potere delle donne in antico regime, con particolare attenzione alla costruzione della regalità femminile nei secoli dell’età moderna; Giuseppe Cirillo si sofferma sulle riforme politiche del Regno borbonico; Elisa Novi Chavarria affronta il rapporto della sovrana con la fede mediato dalla figura del confessore; Gianluca Del Mastro quello con l’Antico e gli scavi di Ercolano; Francesco Cotticelli e Paologiovanni Maione quello con il teatro, la musica e in generale col mondo dello spettacolo; Paola Zito l’amore per i libri e per la sua biblioteca; Vega de Martini quello per l’oreficeria; Eva Baumgartner quello con Vienna, sua culla e tomba; Giulio Brevetti quello con la propria immagine, e dunque con l’iconografia pittorica ufficiale. Un lavoro collettaneo, dunque, che non ambisce a sancire una parola definitiva sulla figlia più intelligente di Maria Teresa nonché moglie ingombrante di Ferdinando IV di Borbone, quanto piuttosto a suggerire, come si evince dall’Introduzione dei curatori Sodano e Brevetti, altre e future ricerche su questo personaggio ancora oggi poco studiato e a suo modo, nel bene e nel male, straordinario.
of the twentieth century, Pier Paolo Pasolini kept in mind the lesson of that
teacher in the construction of his images, sometimes inspired by Renaissance and Mannerist paintings. But in addition to these well -known iconographic references in his movies, reflections on creative act and art in general are often found. The essay therefore aims to focus on some of these moments and to comment on specifically the figures of the artists who appear in some of his films, such as Giotto’s pupil by the same director played in the Decameron or as the director played by Orson Welles in La Ricotta. Through a reading of these examples, it will try to offer an interpretation of the author’s gaze on art and on the humans’ need to create and produce artistic artifacts.
reflect on the singular process of ‘conversion’ of the aqueduct from a grandiloquent and self-celebratory testimony of the Ancien Régime to a symbol of the sacrifice of many Garibaldians in the struggle for liberation from Bourbon oppression.
ENG: Luca Giordano by Enzo Petraccone represents the first modern attempt to interpret the work of the great seventeenth century painter and to integrate him into the context of his time. Influenced by the aesthetics of Croce but not without his own judgements, the young scholar wrote the monograph throughout the course of 1914, after having traveled to and found leads in many libraries, archives, museums and private collections. He departed for the war, dying on 15 June 1918 without seeing the publication of his work. Croce went on to edit the version published in 1919 that generally earned positive criticism plus one very bad review which would be influential in future studies: that of Roberto Longhi, a contemporary of Petraccone but already an acknowledged reference in Italian criticism, who had criticized the Basilicata scholar’s method of reading the works, assessing it as indicative of the author’s immaturity. This essay intends to analyze the work of Petraccone focusing on much of the sources and the method adopted for his judgements on Giordano, in an attempt to understand the role he played in successive studies about the painter and the significance of his controversy with Longhi.
vision of the school and the teaching of classical culture in the Fascist era offered by a single author and master of world cinema such as Federico Fellini. The third, finally, looks at the figure of the teacher of these subjects
and his role in society from the Second World War to the present day, dominated by the implications on teaching determined by the persistence of the pandemic situation.
Sin dai primordi, il cinema ha mostrato una naturale predisposizione a raccontare storie di docenti e di studenti, ad ambientare vicende negli edifici scolastici, a seguire il cammino di formazione dei più giovani seduti dietro ai banchi. All’interno di questo nutrito filone, vale la pena soffermarsi a ragionare sullo spazio dedicato dalla cinematografia
italiana all’insegnamento del latino e del greco, seguendo tre direttive. La prima riflette sulla posizione di prestigio che il ruolo del docente, e in special modo di materie classiche, occupava nella società italiana durante
la prima metà del Novecento, analizzando una pellicola girata subito dopo la fine della Seconda guerra mondiale e incentrata sulle aspirazioni di un genitore, per anni bidello di un liceo romano, che sogna per il proprio figlio una carriera da professore di latino. La seconda è invece orientata a ragionare sulla visione della scuola e dell’insegnamento della cultura classica in epoca fascista offerta da un singolo autore e maestro della cinematografia mondiale come Federico Fellini. La terza, infine, getta uno sguardo sulla figura del docente di tali materie e sul suo ruolo nella società a partire dalla Seconda guerra mondiale fino ai giorni attuali, dominati dai risvolti sull’insegnamento determinati dal perdurare della situazione pandemica.
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on the painter, negative for the most of the Twentieth century, up to the most recent contributions in which a Masonic interpretation of his figure and some of his works is offered.
to capture how much of the scholar and how much of the soldier prevailed in the collective memory.
Wilhelm Tischbein con i sovrani di Napoli offre diversi spunti di riflessione sulle commissioni di corte, sulla produzione di ritratti e, persino, sul significato esoterico di alcune opere. Attraverso le memorie dell’artista, nuove attribuzioni e inedite letture iconologiche, si ricostruirà in particolare il legame con la regina Maria Carolina, sullo sfondo di un secolo che volge al termine e che travolgerà il Regno con la breve Rivoluzione del 1799.
Never been sufficiently addressed up to now, the relationship of the German painter Wilhelm Tischbein with the rulers of Naples offers various points for reflection on court commissions, on the production of portraits and even on the esoteric meaning of some works. Through the artist’s memories, new attributions and new iconological readings, the link with Queen Maria Carolina will be reconstructed, against the background of a century that comes to an end and that will overwhelm
the Kingdom with the short Revolution of 1799.
Royal Palace, chosen as a set for dozens of Italian and international films from the 1930s to the present day,
is actually a closed place, not linked to the territory and, moreover, used largely to represent and evoke other
spaces of power. On the other hand, in the course of the twentieth century, the presence on the big screen of
the Caserta Province was sporadic. Only at the beginning of the new millennium did this territory become the
privileged setting for stories with a strong realism and aimed at telling facts and episodes largely related to the
crime news. This intervention therefore aims to focus on the film production of the last fifteen years in order
to identify, together with the aspects that characterize it, the places most used and thus offer a critical reading
of the interpretations suggested by the films.
The iconography of the future queen of Naples and Sicily will provide an exemplary case study and a paradigmatic reference to understand wich could be considered as the iconography of royal princes, still too less explored.
To face up to this topic, there will be three experts of three distinguished sectors who will offer their personal vision of that jubilar occasion, talking about their own experiences. Nadia Barrella, teacher of Museology who has studied and analyzed the spaces devoted to the Risorgimento memories in Campania, will propose a reflection on the role of the museum as corporate body dedicated to the didactics and the fruition of the History. Anna Villari, art historian who has been the curator of the principal cultural events of the 150 commemorative calendar, will remember the great work developed in that occasion, detaining particularly on some of the most remarkable shows prepared along the country and on the new museums. With her, there will be Luca Milan, an architect titular of the Next Urban Solutions, among the principal studios of planning and realization of multimedia museal exhibitions, who will illustrate some of the most meaningful interactive solutions conceived for the visitors of the last years.
«Della felicità di ignorare il tempo che passa». Thoughts and feelings of a young art critic at the front
On June 15, 1918, the young art critic and journalist Enzo Petraccone, Croce’s star pupil and dear to Neapolitan intellectuals as Fortunato and Di Giacomo, died on the Valbella mountain. He showed very soon a precocious and mature sensibility together with an interest that ranged from the Neapolitan 17th century to the beginning of 20th century art production. The advent of the war interrupted his researches; during the military service he prepared a monograph about Luca Giordano that he had not the chance of seeing it published. In the summer of 1917, from the Giudicarie region, that he found monotonous, he asked, against the Croce’s opinion, to be admitted to the bombardiers’ school in Susegana; from there, he was sent on the Carso region and then as lieutenant on the Asiago highland, where he died just at the age of 27. Yet, during the three years at the front, he never stopped to get his thoughts on the paper, as testified by Colloqui col cane Tell, considerations on life, art and war providentially sent to Croce just few weeks before he died during the Second Battle of the Piave River, also known as the “Battle of the Solstice”, so-called by the poet Gabriele D’Annunzio.
Un tempo, la Mater Patriae era la sovrana, la regina, l’imperatrice. Pensiamo al caso di Maria Carolina regina di Napoli, ritratta nel 1783 da Angelika Kauffmann come madre amorevole, serena e idealizzata di una famiglia numerosa e virtuosa calata all’interno di una lussureggiante cornice neoclassica. Proprio in quel periodo, la sovrana viene omaggiata dai versi dell’amica e bibliotecaria che si firma Altidora Esperetusa ma che al secolo si chiama Eleonora Fonseca Pimentel, la futura eroina e leader della breve ma gloriosa stagione della repubblica napoletana. Eleonora, Luisa Sanfelice e le cosiddette madri della patria, come le sorelle Carafa, sono le prime grandi eroine del Risorgimento italiano, genitrici inquiete e ribelli, omaggiate all’indomani dell’Unità da pittori quali Toma e Sciuti.
Le donne del ’99 sono però ancora per lo più delle nobili che hanno scelto la via rivoluzionaria. Le madri del Risorgimento maturo saranno invece quelle del popolo e della borghesia, virtuose ed eroiche nel loro dolore, ritratte all’interno delle proprie case in attesa di notizie dal fronte, come in tante opere dei fratelli Induno, o in lotta per le strade come Anita Garibaldi, le cui spoglie vengono omaggiate dalla presenza del suo consorte e dei suoi bambini in un dipinto di ignoto. L’Eroe dei due Mondi, il personaggio che ha avuto maggior successo dal punto di vista iconografico, è spesso circondato, nelle scene che ricostruiscono e celebrano le sue imprese, da giovani madri che lo indicano ai propri pargoli come virtuoso salvatore, ideale “padre” comune.
La madre, come d’altronde già nella tradizione ottocentesca, riveste il ruolo altamente simbolico e iconico di custode dei valori familiari nel particolare e di quelli nazionali nel generale. E così, in tanti dipinti realizzati da Malchioldi, Sciuti, Gamba, Induno, viene ritratta come amorevole e autorevole educatrice, mentre istruisce e ammonisce il proprio bambino, indicandogli il bene e la strada giusta, proprio come la nuova Italia con un suo giovane cittadino.
Among the numerous initiatives planned for the centenary of the birth of Pier Paolo Pasolini, the Bolognese exhibition Folgorazioni figurative is an intriguing and relevant event not to be missed to learn about and deepen the references to painting, and more generally to the world of visual arts, of which the director’s films are full. It is in particular on the figure of Roberto Longhi, professor of the young Pier Paolo at the Alma Mater Studiorum in 1941, and on his influence that the exhibition and the catalog dwell, in order to trace the root of the relationship between cinema and painting that distinguishes Pasolini’s filmography, offering numerous comparisons between frames and paintings, reflections of an aesthetic nature and suggestions relating to the creative process of the director, who came to the cinema not for the love of the ‘big screen’ but through his interest in painting, matured following the revealing and ‘dazzling’ lessons of the Piedmontese Maestro. Halfway between a small essay and a review, the contribution intends to offer a critical reading of the ten sections of the exhibition and of the rich catalog: two products that might have needed the support of an art historian but nevertheless destined to represent an important and decisive step forward in the knowledge of the formation of the great intellectual and filmmaker.