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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Art, Italian.

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The essay concerns two drawings by the Florentine baroque painters Cesare and Pietro Dandini, coming from the Dandini-Targioni Tozzetti collection. The naturalist Giovanni Targioni Tozzetti (1712-1783), consort of Maria Brigida, daughter of Ottaviano Dandini, brought together the impressive set of drawings belonging to the Dandini family, which were divided into twenty volumes, probably dismembered in the Nineteenth century. The paper presents two drawings which belonged to that collection: a sheet in sanguine by Cesare Dandini depicting a male figure, and a drawing by Pier Dandini depicting The glory of Saint Verdiana, a preparatory study for an altarpiece that was part of a series of large canvases executed by Pier Dandini between 1706 and 1710 for the basilica of Santa Trinita in Florence.

Art, Italian.

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Pottery in art. --- Art, Italian --- Art, Italian

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"Man schreit vor Angst und Entsetzen. Diese Bilder sind das Innerste, Erschütterndste, Grandioseste, Unfassbarste, das seit Menschengedenken gemacht worden ist." Der Künstler Hugo Ball (1886-1927) zeigte sich 1913 nach seinem Besuch des Kunstsalons Emil Richter in Dresden wahrhaft überwältigt angesichts der dort ausgestellten Gemälde der Futuristen. Auch andernorts riefen die Künstler Umberto Boccioni, Carlo Carrà, Giacomo Balla, Luigi Russolo und Gino Severini teils heftige Reaktionen hervor. Gegründet wurde die italienische Avantgardebewegung 1909 mit der Veröffentlichung des Manifests Le Futurisme durch den Dichter Filippo Tommaso Marinetti. In der darin aufgestellten Behauptung "Schönheit gibt es nur noch im Kampf. Ein Werk ohne aggressiven Charakter kann kein Meisterwerk sein" wird Gewalt als ideologische Basis der Bewegung bekundet. War die ganzheitliche Erneuerung der Kunst und Kultur Italiens das Ziel der Futuristen, so teilten sie die Überzeugung, dass diese nur auf der (ideellen) Zerstörung tradierter kultureller und gesellschaftlicher Werte gründen könne. Die vorliegende Untersuchung geht dem Ursprung des Themas der Gewalt in den futuristischen Manifesten aus der Geisteshaltung des späten 19. Jahrhunderts nach und analysiert die Art und Weise, wie die futuristischen Künstler das Thema der Gewalt auf ihre bildlichen Werke übertrugen. Reaktionen von Betrachtern wie Hugo Ball werden herangezogen, um zu untersuchen, inwiefern die Kunst im Futurismus als Kommunikationsmittel gesellschaftlicher Forderungen und ästhetischer Inhalte der futuristischen Ideologie eingesetzt wurde. You scream with fear and horror. These pictures are the innermost, the most shocking, the most grandiose, the most incomprehensible, made since time immemorial. "The artist Hugo Ball (1886-1927) was truly overwhelmed in 1913 after his visit to the Kunstsalon Emil Richter in Dresden in view of the paintings of the Futurists exhibited there, Elsewhere, the artists Umberto Boccioni, Carlo Carrà, Giacomo Balla, Luigi Russolo and Gino Severini also caused some violent reactions. The Italian avant-garde movement was founded in 1909 with the publication of the Manifesto Le Futurisme by the poet Filippo Tommaso Marinetti. In the statement made in it "Beauty exists only in the fight. A work without an aggressive character can not be a masterpiece", violence is proclaimed as the ideological basis of the movement. If the holistic renewal of Italian art and culture was the goal of the Futurists, they shared the conviction that this could only be based on the (idealistic) destruction of traditional cultural and social values. The present research explores the origin of the theme of violence in the futuristic manifestos of the late 19th century mentality and analyzes the way futurist artists transferred the theme of violence to their pictorial works. Reactions by observers such as Hugo Ball are used to investigate to what extent art has been used in futurism as a means of communication of social demands and aesthetic content of futurist ideology.

Futurism (Art) --- Painting, Italian --- Art, Italian

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"Postwar Italian Art History Today brings fresh critical consideration to the parameters and impact of Italian art and visual culture studies of the past several decades. Taking its cue from the thirty-year anniversary of curator Germano Celant's landmark exhibition at PS1 in New York - The Knot - this volume presents innovative case studies and emphasizes new methodologies deployed in the study of postwar Italian art as a means to evaluate the current state of the field. Included are fifteen essays that each examine, from a different viewpoint, the issues, concerns, and questions driving postwar Italian art history. The editors and contributors call for a systematic reconsideration of the artistic origins of postwar Italian art, the terminology that is used to describe the work produced, and key personalities and institutions that promoted and supported the development and marketing of this art in Italy and abroad."--Bloomsbury Publishing Postwar Italian Art History Today brings fresh critical consideration to the parameters and impact of Italian art and visual culture studies of the past several decades. Taking its cue from the thirty-year anniversary of curator Germano Celant's landmark exhibition at PS1 in New York - The Knot - this volume presents innovative case studies and emphasizes new methodologies deployed in the study of postwar Italian art as a means to evaluate the current state of the field. Included are fifteen essays that each examine, from a different viewpoint, the issues, concerns, and questions driving postwar Italian art history. The editors and contributors call for a systematic reconsideration of the artistic origins of postwar Italian art, the terminology that is used to describe the work produced, and key personalities and institutions that promoted and supported the development and marketing of this art in Italy and abroad

Art, Italian --- Art criticism --- Historiography. --- History