Neapolitan Art

M.C.Cozzi, S. Guido, G. Mantella, "La Madonna di Ognissanti. Un dipinto di Battistello Caracciolo: la tecnica, il restauro e un'ipotesi interpretativa tra devozione e storia", in "La Madonna di Ognissanti di Battistello Caracciolo. Una riscoperta per il restauro" a cura di S. Guido, G. Mantella, Roma 2014, pp. 21-57. ISBN - 9788898455232

Naples, its cultural heritage and with it also its Language are a patrimony of all humanity, as UNESCO ​ reminds us when it decrees the ​ Historic Center ​ of the city of Naples as a world heritage, recognizing the uniqueness of cultural identity of Naples and its cultural contribution to all Europe and beyond. That is why this patrimony must be defended by any interference and violation and this is the international work of the ​ Neapolitan Academy presided by Massimiliano Verde, especially because in Italy this heritage is often treated, as who speaks it, in a villainous and very degraded way. So Neapolitan Language is not taught, it's treated as the language of the mafia and the ignorants or ridiculous people.
The Neapolitan Academy works and cooperates internationally to promote this cultural heritage, jointly and favoring the dialogue with the other cultural communities that suffer the same or similar problems. The President of the Neapolitan Academy, ​ Massimiliano Verde​ , made the first ​ Certificate of the Neapolitan language and culture of European level ​ (CEFR skilled) recognized in its cultural value by the Municipality and the Mayor of Naples, and this is a historical fact considered the ​ recognition / patronage of the maxim public institution of the city of Naples.

Italian State ratified :

CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE

CONVENTION ON THE PROTECTION AND PROMOTION OF THE DIVERSITY OF
CULTURAL EXPRESSIONS,

Based around discussion of Carlo di Borbone hunting on Lake Patria by Claude-Joseph Vernet, this chapter argues that, with the advent of Bourbon rule in 1734, images of the new Neapolitan king hunting operated as particularly effective vehicles of royal interest in the struggle or royal government to wrest territorial control from the feudal barons of the kingdom.  I shall be especially concerned to relate the pictorial languages of these images to a wider set of questions about the aesthetic associations and the political status of the territories they represent.  Organised according to many of the terms of classical view painting, Vernet’s image was able to imbue the new Neapolitan territorial type of the royal hunting reserve with some of the venerated associations of classical landscape and involved the site as part of an ambitious mid-eighteenth-century pictorial tour of the Bourbon-held territories on the Italian peninsula, in the Roman campagna and elsewhere.  The complex political status of the actual territory represented is also investigated in order to suggest that the royal hunting park was uniquely adapted to serve as an instrument and marker in the campaign to return large tracts of land to royal control.  Finally, this chapter identifies the particular strategies through which Vernet’s view and other types of royal hunting imagery were able to amplify and extend the political relations already configured in the landscape of the hunting park and will consequently demonstrate their active involvement in the process of forging a landed identity for the new Bourbon Neapolitan state, one crucially shaped around the figure of royal authority.

in "Luigi Garzi 1638-1721. Pittore romano", a cura di Francesco Grisolia e Guendalina Serafinelli, Milano, Officina Libraria, 2018, pp. 209-233.

Il saggio affronta un viaggio nell’arte e nel linguaggio del pittore Luigi Garzi (Roma, 1638-1721) attraverso i suoi disegni. In un percorso cronologico confinato entro gli anni Ottanta del Seicento sono considerati sia fogli già noti e indubbiamente autografi sia esemplari con antica assegnazione al pittore, in parte inediti o mai oggetto di approfondimenti, fino a includere nuove proposte attributive.

"Il concetto d'imitazione nella lettera di Pietro Summonte (1524). La pittura fiamminga e la costruzione di un’identità culturale napoletana aragonese", in La Corona d'Aragona e l'Italia. Atti del XX Congresso della Corona d'Aragona (Conference proceedings, Rome/Naples 2017), ed. by Guido D'Agostino et al., 2 vols., Rome 2020, vol. 2, pp. 599–617.

Seguendo il dettato della biografia di Passeri, il saggio ripercorre l'attività di ritrattista di Giuliano Finelli dagli anni romani, sotto l'egida di Gian Lorenzo Bernini e la successiva emancipazione dalla sua pratica, fino al soggiorno napoletano conclusosi col rientro e morte nell'Urbe. Attraverso casi esemplari, lo studio sottolinea gli elementi di originalità apportati da Finelli in questo specifico genere, attraverso il serrato dialogo con Bernini e il bolognese Alessandro Algardi, e il suo contributo alla definizione, intorno agli anni trenta del Seicento, del cosiddetto ''ritratto parlante''.

La fortuna storica e storiografica di due o tre scultori spagnoli a Napoli nel Cinquecento: spunti per una lettura critica, in Napoli e la Spagna nel Cinquecento. Le opere, gli artisti, la storiografia, a cura di L. Gaeta, Galatina 2017,  pp. 5-32.

During the first half of the eighteenth century, before its dispersal in a memorable Florentine auction of 1852, the Rinuccini collection underwent a decisive evolution under the aegis of Marchese Folco and his sons Carlo and Alessandro. Specific analysis of their acquisitions of Neapolitan painting and identification of works currently housed in various museums reveals that the family was in step with the period’s most advanced trends in taste. Folco Rinuccini took part in the division of the collection of the Marchese Del Carpio in Florence, acquiring notable works, and his son Alessandro, who had moved to Naples, subsequently made important purchases in situ. Finally, Carlo saw to the aggrandizement of the family in Florence through shrewd cultural politics, culminating in the restructuring of the Palazzo Rinuccini and the exhibition at Santissima Annunziata in 1737.

La prima edizione italiana degli studi pionieristici su Aniello falcone di Fritz Saxl (1890-1948), protagonista del ‘circolo’ di Aby Warburg e custode – innanzitutto attraverso la direzione della straordinaria biblioteca – della sua eredità culturale. La modernità dell’approccio pluridisciplinare – un’analisi combinata di stile, iconografia, produzione grafica, committenza e contesto sociale – fa del contributo di Saxl un capitolo fondamentale della fortuna storica dell’arte napoletana fuori dai confini nazionali. Allo stesso tempo, in assenza di una monografia sistematica, il volume costituisce – grazie anche agli apparati critici e filologici – un punto di riferimento aggiornato per la conoscenza del pittore, grazie a uno scavo archivistico rigoroso e a un nuovo corredo fotografico che integra quanto, con i mezzi dell’epoca, saxl non poté adeguatamente documentare.