Suono e Spettacolo. Athanasius Kircher, un percorso nelle Immagini sonore.

The Society of Jesus made great propaganda efforts throughout the seventeenth century and chose the images and the play as a privileged means to communicate and persuade. Athanasius Kircher, a key figure of the seventeenth century, he decided to dominate the wild nature of sound through Phonurgia Nova, which includes a gallery of powerful symbolic images for Baroque aesthetics. The essay, through the grant of the images from the Library of the Department of Mathematics "Guido Castelnuovo" Sapienza University of Rome, aims to understand, through the pictures offered by Kircher, the sound phenomenon and the spectacle that this produces. In Phonurgia Nova a process of dramatization sound effects takes place, often through machines and "visions" applied to the theatrical reality, as experimental and astonishing environment beloved in baroque. Kircher illustrates the sound through explanatory figures, so to dominate the sound through the eyes. Sound is seen, admired and represented: its spectacle not only takes place through the implementation of sound machines or the "wonders" applied to the theater, but even through images, creating create a sense of wonder in in the erudite person of the seventeenth century

Italian sculptors in France : french influences and models in the first mid 20th Century

Cette étude a analysé la présence des sculpteurs italiens à Paris du début du XX siècle à la fin des années Trente, afin de reconstituer un chapitre important de l'histoire des échanges artistiques en France. Nous nous sommes servis d'une méthode historique et philologique, qui a bien été appliquée aux écrits critiques et à la presse de l'époque. Pour ce qui concerne le début du siècle, nous avons remarqué une participation considérable de la part des italiens aux principaux événements expositifs de la capitale comme les Salons officiels; le succès de public et commercial leur avait permis d'obtenir une place parmi les artistes à la mode les plus connus. Pendant les années Vingt, nous avons constaté un nombre moins significatif de sculpteurs; nous avons lu ce fait en nous rapportant à la situation historique italienne, qui en ce temps subissait des importants changements dus à l'ascension du régime fasciste. Les italiens qui étaient encore présents en France après la Guerre ne s'inséraient guère dans le cadre des nouvelles recherches artistiques italiennes, ils poursuivaient, au contraire, des orientations esthétiques plutôt dépassées. La dernière partie de notre étude s'est intéressée à l'essor du nouveau langage artistique de la péninsule italienne qui pendant les années Trente se répandit enfin même à l'étranger. Les sculpteurs italiens pouvaient donc participer activement à la vie expositive parisienne, tout en montrant le visage d'une plastique qui avait enfin pris conscience de ses potentialités. La France de sa part accueillait volontiers ces expérimentations, dans le but d'instituer une relation d'amitié durable avec le pays voisin.This study has analyzed the presence of Italian sculptors in Paris from the beginning of the 20th Century to the end of the third decade, with the aim of reconstructing an important chapter of the history of artistic exchanges between Italy and France. We have favored an historical-philological method, based on critical publications and old French and Italian press.Concerning the beginning of the century, we have remarked a considerable participation of Italians in the main expositions in the French capital, such as official Salons; critical and market success allowed them to get a main role in the crew of the most popular artists.During the twenties, we have noted a less considerable participation of Italian sculptors; we have interpreted it in relation to historical context of fascist Italy, where the government was trying to develop a national cultural program. The Italian artists in France, after the First World War, didn't share the new Italian artistic orientation; they went on with outdated aesthetic choices.The last part of our research was interested in the development of the new Italian artistic language, finally known out of Italy. The Italian sculptors consequently could take part in arts activity in Paris, showing the face of a new sculpture, finally aware of its potentialities. France gave these experimentations a good welcome in the aim of constituting a longtime friendship with the Italian country

Fascismo e classicità: il recupero iconografico delle opere d'arte non romane a fini propagandistici nell'Italia mussoliniana.

The paper demonstrates the importance of the Classical iconography, except the Ancient Roman one, in the Fascist propaganda. It starts considering how the Fascism has also taken inspiration from Ancient Greek artistic examples, often transforming and misinterpreting their original meaning. I especially focus my attention on the famous ancient masterpieces of the Nike of Samotracia, the Doryphoros and the Discobolus, that compared in various propaganda publications. In the second part of the article, I examine how Italian Renaissance's iconographies were recovered in order to sponsorize social policies, concerning family and health, also promoting the superiority of the Aryan race ideology. Finally I dedicate a short paragraph to the XVII century's Classicism and its revival in the Fascist Era, through the rediscovery of Guido Reni's paintings in Fascist propaganda publications

Fascismo e classicità: il recupero iconografico delle opere d'arte non romane a fini propagandistici nell'Italia mussoliniana.

The paper demonstrates the importance of the Classical iconography, except the Ancient Roman one, in the Fascist propaganda. It starts considering how the Fascism has also taken inspiration from Ancient Greek artistic examples, often transforming and misinterpreting their original meaning. I especially focus my attention on the famous ancient masterpieces of the Nike of Samotracia, the Doryphoros and the Discobolus, that compared in various propaganda publications. In the second part of the article, I examine how Italian Renaissance's iconographies were recovered in order to sponsorize social policies, concerning family and health, also promoting the superiority of the Aryan race ideology. Finally I dedicate a short paragraph to the XVII century's Classicism and its revival in the Fascist Era, through the rediscovery of Guido Reni's paintings in Fascist propaganda publications

Les sculpteurs italiens et la France. Sources et influences françaises dans la première moitié du XXe siècle

2010/2011Lo studio ha analizzato la presenza degli scultori italiani a Parigi dall'inizio del XX secolo alla fine degli anni Trenta, con l'obiettivo di ricostruire un capitolo importante della storia degli scambi artistici in Francia. Ci siamo serviti del metodo storico-filologico che è stato applicato agli scritti critici e alla stampa d'epoca. Per quel che riguarda l'inizio del secolo, abbiamo rilevato una partecipazione italiana considerevole ai principali eventi espositivi della capitale come i Salons ufficiali; il successo commerciale e di pubblico aveva consentito loro di ottenere un certo spazio tra gli artisti alla moda più conosciuti. Nel corso degli anni Venti abbiamo notato un numero meno significativo di scultori, interpretando questo fatto alla luce della situazione storica italiana, sottomessa a importanti cambiamenti, successivi all'ascesa del regime fascista. Gli italiani che si trovavano ancora in Francia in seguito alla Prima Guerra Mondiale non si inserivano pertanto all'interno delle ricerche artistiche italiane, dal momento che sostenevano degli indirizzi estetici ormai sorpassati. L'ultima parte del nostro studio si è concentrata sullo sviluppo del nuovo linguaggio artistico della penisola italiana, diffuso ormai anche all'estero. Gli scultori italiani potevano partecipare di conseguenza all'attività espositiva di Parigi, e mostrare il volto di una plastica finalmente cosciente delle proprie potenzialità. La Francia da parte sua acccoglieva di buon grado questo tipo di sperimentazioni al fine di creare un rapporto di amicizia duraturo con la nazione confinante.This study has analyzed the presence of Italian sculptors in Paris from the beginning of the 20th Century to the end of the third decade, with the aim of reconstructing an important chapter of the history of artistic exchanges between Italy and France. We have favored an historical-philological method, based on critical publications and old French and Italian press. Concerning the beginning of the century, we have remarked a considerable participation of Italians in the main expositions in the French capital, such as official Salons; critical and market success allowed them to get a main role in the crew of the most popular artists. During the twenties, we have noted a less considerable participation of Italian sculptors; we have interpreted it in relation to historical context of fascist Italy, where the government was trying to develop a national cultural program. The Italian artists in France, after the First World War, didn't share the new Italian artistic orientation; they went on with outdated aesthetic choices. The last part of our research was interested in the development of the new Italian artistic language, finally known out of Italy. The Italian sculptors consequently could take part in arts activity in Paris, showing the face of a new sculpture, finally aware of its potentialities. France gave these experimentations a good welcome in the aim of constituting a longtime friendship with the Italian country.Cet étude a analysé la présence des sculpteurs italiens à Paris du début du XX siècle à la fin des années Trente, afin de reconstituer un chapitre important de l'histoire des échanges artistiques en France. Nous nous sommes servis d'une méthode historique et philologique, qui a bien été appliquée aux écrits critiques et à la presse de l'époque. Pour ce qui concerne le début du siècle, nous avons remarqué une participation considérable de la part des italiens aux principaux événements expositifs de la capitale comme les Salons officiels; le succès de public et commercial leur avait permis d'obtenir une place parmi les artistes à la mode les plus connus. Pendant les années Vingt, nous avons constaté un nombre moins significatif de sculpteurs; nous avons lu ce fait en nous rapportant à la situation historique italienne, qui en ce temps subissait des importants changements dus à l'ascension du régime fasciste. Les italiens qui étaient encore présents en France après la Guerre ne s'inséraient guère dans le cadre des nouvelles recherches artistiques italiennes, ils poursuivaient, au contraire, des orientations esthétiques plutôt dépassées. La dernière partie de notre étude s'est intéressée à l'essor du nouveau langage artistique de la péninsule italienne qui pendant les années Trente se répandit enfin même à l'étranger. Les sculpteurs italiens pouvaient donc participer activement à la vie expositive parisienne, tout en montrant le visage d'une plastique qui avait enfin pris conscience de ses potentialités. La France de sa part accueillait volontiers ces expérimentations, dans le but d'instituer une relation d'amitié durable avec le pays voisin.XXIV Ciclo198

I monumenti imperiali nelle terre redente: la damnatio memoriae all'indomani della liberazione

Il mio intervento intende soffermarsi su un argomento finora trattato marginalmente o in modo episodico nello studio dei danni subiti dal patrimonio culturale regionale durante la Prima Guerra Mondiale: la damnatio memoriae dei monumenti e delle effigi austro-ungariche realizzati a cavallo dei due secoli in regione e nelle zone limitrofe dell'Istria, ovvero nel territorio del cosiddetto Künstenland. Con l'arrivo delle truppe italiane nelle zone liberate, la gran parte dei simboli artistici ed iconografici dell'impero venne infatti distrutta, vandalizzata, traslata. Il contributo ricostruirà per prima cosa le ragioni alla base di questa furia iconoclasta, contestualizzandole alla luce delle vicende storiche di quei giorni. Per quanto concerne Trieste, lo sfortunato destino di alcuni monumenti è già stato ampiamente trattato (Monumento all'Arciduca Massimiliano e ad Elisabetta). A questi si aggiungerà la ricognizione di casi meno noti come il Monumento della Dedizione all'Austria e il busto di Sissi nella scuola cittadina a lei dedicata. L'analisi dei monumenti si concentrerà ulteriormente su opere meno note, tutte a carattere celebrativo, inaugurate in zone oggi spesso considerate ai margini, ma all'epoca estremamente importanti per l'Impero, come Pieris, Cormons e alcuni centri dell'Istria. La volontà di ricostruire in modo completo fatti e vicende di questa damnatio memoriae ha dovuto tener conto della penuria di informazioni relative ai monumenti successivamente al loro danneggiamento e/o traslazione. Sfortunatamente per diversi casi restano l'incertezza e informazioni profondamente lacunose.The focus of my work is a subject that has up to now been dealt with only marginally or occasionally in studying the damage to the cultural heritage of the region during the First World War: the damnatio memoriae of Austro-Hungarian effigies and monuments created at the turn of the 20 th century in the region and in the neighbouring areas of Istria, i.e. in the territory of the so-called Künstenland. With the arrival of Italian troupes in the liberated areas, most of the artistic and iconographic symbols of the empire were in fact destroyed, vandalised or moved. The work will firstly reconstruct the reasons for this iconoclastic rampage, putting them in the context of the historical events of that time. As regards Trieste, the misfortune of certain monuments has already been dealt with widely (Monument to Archduke Maximilian and to Elizabeth). In addition, less well-known cases will be analysed, such as the Monument to the Devotion to Austria and the Bust of Sissi in the city school dedicated to her. The analysis of the monuments will concentrate further on less known works, all with a commemorative purpose, established in areas which are today often considered marginal, but at the time were of upmost importance for the Empire, such as Pieris, Cormons and certain cities in Istria. The desire to fully reconstruct what happened during this damnatio memoriae meant taking into account the lack of information on the monuments after they were damaged and/or moved. Unfortunately, in several cases uncertainty and considerable gaps in information still persist