Pub Date : 2022-12-20DOI: 10.30687/va/2385-2720/2022/08/006
Giulia Zompa
This essay examines what Maurizio Cattelan achieved in the second part of his activity, starting from Maurizio Cattelan: All (the exhibition with which he had announced his retirement), up to the recent exhibitions Breath Ghosts Blind and YOU. Through a comparison with some artworks from his past, it will be highlighted the profound thematic and formal link that combine the last phase with the first one. In fact, the two moments are divided, not only by a temporal factor, but also by a different approach often interested to rethink what Cattelan has already done rather than to propose new solutions.
{"title":"«Signori, la festa è finita». Le ‘ultime’ opere di Maurizio Cattelan tra continuità e citazione","authors":"Giulia Zompa","doi":"10.30687/va/2385-2720/2022/08/006","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2022/08/006","url":null,"abstract":"This essay examines what Maurizio Cattelan achieved in the second part of his activity, starting from Maurizio Cattelan: All (the exhibition with which he had announced his retirement), up to the recent exhibitions Breath Ghosts Blind and YOU. Through a comparison with some artworks from his past, it will be highlighted the profound thematic and formal link that combine the last phase with the first one. In fact, the two moments are divided, not only by a temporal factor, but also by a different approach often interested to rethink what Cattelan has already done rather than to propose new solutions.","PeriodicalId":344265,"journal":{"name":"<i>Altersstil</i>. Late in the Arts","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123653183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-20DOI: 10.30687/va/2385-2720/2022/08/005
Giuseppe Barbieri
Starting from a singular ‘methodological’ note from 1992 by Fred Licht on the Altersstil of American painter William Congdon and from a later art exhibition, the article sheds light on relevant aspects of the late manner of a protagonist of American Abstract Expressionism. The article suggests a possible start date on the background of a dense critical debate, spanning from Clement Greenberg to the beginning of the twenty-first century, and relying on scholars such as Giovanni Testori and Giuseppe Mazzariol. It illustrates a rare example of expressive Survival that connects two fascinating physiognomies of Congdon, an artist who disappeared and reappeared several times throughout the art history and system, and of a great scholar, recently deceased, that deserves not to be forgotten.
{"title":"William Congdon e Fred Licht\u0000 L’Altersstil tra pittura e riflessione critica","authors":"Giuseppe Barbieri","doi":"10.30687/va/2385-2720/2022/08/005","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2022/08/005","url":null,"abstract":"Starting from a singular ‘methodological’ note from 1992 by Fred Licht on the Altersstil of American painter William Congdon and from a later art exhibition, the article sheds light on relevant aspects of the late manner of a protagonist of American Abstract Expressionism. The article suggests a possible start date on the background of a dense critical debate, spanning from Clement Greenberg to the beginning of the twenty-first century, and relying on scholars such as Giovanni Testori and Giuseppe Mazzariol. It illustrates a rare example of expressive Survival that connects two fascinating physiognomies of Congdon, an artist who disappeared and reappeared several times throughout the art history and system, and of a great scholar, recently deceased, that deserves not to be forgotten.","PeriodicalId":344265,"journal":{"name":"<i>Altersstil</i>. Late in the Arts","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127713774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-20DOI: 10.30687/va/2385-2720/2022/08/004
A. Mazzanti
The essay looks at the maturity of Ettore Tito, an artist of transition between the nineteenth-twentieth century, as an anti-Altersstil since in his case we are not dealing with discontinuities connected with a renewed attitude. His late international impressionism has been considered anachronistic as in the emblematic case of the antinomy between the two personal exhibitions of Tito and Modigliani at the 1930 Biennale of Venice. The essay aims to consider the Altersstil as a methodological ‘tool’, as opportunity to reflect on the history of official taste and of the first forty years of the Biennale, both around curatorial strategies and the display as story of taste.
{"title":"Altersstil novecentesco di Ettore Tito","authors":"A. Mazzanti","doi":"10.30687/va/2385-2720/2022/08/004","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2022/08/004","url":null,"abstract":"The essay looks at the maturity of Ettore Tito, an artist of transition between the nineteenth-twentieth century, as an anti-Altersstil since in his case we are not dealing with discontinuities connected with a renewed attitude. His late international impressionism has been considered anachronistic as in the emblematic case of the antinomy between the two personal exhibitions of Tito and Modigliani at the 1930 Biennale of Venice. The essay aims to consider the Altersstil as a methodological ‘tool’, as opportunity to reflect on the history of official taste and of the first forty years of the Biennale, both around curatorial strategies and the display as story of taste.","PeriodicalId":344265,"journal":{"name":"<i>Altersstil</i>. Late in the Arts","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114577085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-20DOI: 10.30687/va/2385-2720/2022/08/001
Dario Donetti
Giuliano da Sangallo was an artist originally trained as a legnaiuolo and a sculptor, but it is especially as an architect that we remember him, particularly for his service to two generations of the Medici, from Lorenzo the Magnificent to Leo X. His late style is emblematic of the methodological questions developed by historiography around the concept of Altersstil. It was both the product of highly personal, even idiosyncratic, formal preferences and a trigger for new trends that emerged in the architecture of sixteenth-century Italy. Indeed, the erudite, seductive language displayed in the last years of his life would have a fundamental impact on subsequent generations of designers, despite the small number of projects actually completed. Different design strategies, all experimented with over the previous decades, converge in Giuliano da Sangallo’s late style, making his architectural work so distinctive and pregnant with consequences: the taste for variation in the use of architectural orders and their conceptual autonomy from the wall’s mass; the sculptural treatment of figural details, producing dense atmospheric effects; the conception of the building as a boxy, elementary volume covered with precious surfaces. In 1990, Manfredo Tafuri recognized the common ground of these different aspects in their fragmentary quality. He was commenting on Giuliano's very last projects for the completion of the church of San Lorenzo through a new, monumental facade, conceived between 1515 and 1516,a few months before Giuliano’s death and as a response to an initiative undertaken by the first Medici pope. This article will focus primarily on this group of projects, or better, of drawings, but will also analyse a significant addition, presented to the public in 2017, on the occasion of an exhibition at the Uffizi. In both their graphic modes and architectural contents, these sheets represent Sangallo’s artistic testament. Characterised by sumptuous forms – i.e., showing the free and secure ductus that one would expect from an artist in the autumn of his career – and density of references, in terms of tectonics, civic identity, and antiquarian knowledge, they constitute a final word on the possibilities of representation in architecture.
朱利亚诺·达·桑加洛(Giuliano da Sangallo)最初是一名艺术家和雕塑家，但我们尤其记得他是一名建筑师，特别是他为两代美第奇家族服务，从宏伟的洛伦佐(Lorenzo the Magnificent)到利奥十世(Leo x)。他的晚期风格象征着史学围绕Altersstil概念发展起来的方法论问题。它既是高度个人的产物，甚至是特殊的，正式的偏好，也是16世纪意大利建筑中出现的新趋势的导火索。事实上，在他生命的最后几年里，他所展示的博学、诱人的语言对后来几代设计师产生了根本性的影响，尽管实际上完成的项目很少。在过去的几十年里，不同的设计策略都在朱利亚诺·达·桑加洛(Giuliano da Sangallo)的晚期风格中汇聚，使他的建筑作品如此独特，并孕育了各种后果:对建筑秩序使用的变化的品味，以及它们与墙体质量的概念自治;人物细节的雕塑处理，产生浓厚的大气效果;建筑的概念是一个四方形的基本体量，上面覆盖着珍贵的表面。1990年，曼弗雷多·塔夫里(Manfredo Tafuri)认识到这些不同方面的共同点是它们的碎片性。他在评论朱利亚诺的最后一个项目，完成了圣洛伦佐教堂，通过一个新的纪念性立面，构思于1515年至1516年，朱利亚诺去世前几个月，作为对第一任美第奇教皇倡议的回应。本文将主要关注这组项目，或者更好的是，图纸，但也将分析2017年在乌菲齐展览会上向公众展示的重要补充。无论是图形模式还是建筑内容，这些板材都代表了Sangallo的艺术见证。它们以华丽的形式为特征——即展示了自由和安全的管道，这是一个艺术家在其职业生涯的秋天所期望的——以及在构造学、公民身份和古物知识方面的参考密度，它们构成了建筑表现可能性的最终定论。
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Pub Date : 2022-12-20DOI: 10.30687/va/2385-2720/2022/08/003
Sabine Peinelt-Schmidt
Is it possible to apply the concept of Altersstil to Bernardo Bellotto’s career as a painter? Significant changes can be described in his work on the basis of three criteria: the expansion of the urban space, the role of the staffage figures and self-portrait. A comparison with paintings from the Dresden phase will be used to characterise Bellotto’s Altersstil in the Warsaw vedute. As a case study, Bellotto’s work is suitable for adding a facet to the concept of Altersstil, which on the one hand takes into account the personal experience of his own career, and on the other hand, includes the requirements of changing patrons in the interpretation of the Alterswerk.
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Pub Date : 2022-12-20DOI: 10.30687/va/2385-2720/2022/08/007
Floriana Conte
The Saint Francis of Assisi with three angels crowning him in a day landscape and two donors in prayer has been known at least since the end of the seventeenth century in the church of San Francesco in Gallipoli, in the province of Lecce (currently the Saint Francis is relocated in the Diocesan Museum - section of Gallipoli “Mons. Vittorio Fusco”). In 1951 Giovanni Urbani brought it to the national attention of art history studies as the work of one of Titian’s greatest contemporaries, Giovanni Antonio de’ Sacchis known as Pordenone, based on an intuition of Sabino Jusco. Yet the provenance of the higher quality sixteenth-century work in a church in the Salento area remains mysterious. The direct inspection of the Saint Francis, including recent exhibitions and restoration interventions, made it possible to re-examine in depth or for the first time the issues concerning the genesis, chronology, paths and commissioning of the painting.
至少从17世纪末开始，在莱切省加利波利的圣弗朗西斯科教堂(目前圣弗朗西斯被安置在加利波利“蒙斯区”的教区博物馆)中，阿西西的圣弗朗西斯有三个天使为他加冕的日景和两个祈祷者。维托里奥褐”)。1951年，乔瓦尼·乌尔巴尼(Giovanni Urbani)把它作为提香最伟大的同时代人之一的作品引起了艺术史研究的全国关注，乔瓦尼·安东尼奥·德·萨奇斯(Giovanni Antonio de ' Sacchis)被称为波德诺内(Pordenone)，基于萨比诺·尤斯科(Sabino Jusco)的直觉。然而，在萨伦托地区的一座教堂里，这幅高质量的16世纪作品的来源仍然是个谜。对圣方济各的直接检查，包括最近的展览和修复干预，使深入或首次重新审视有关这幅画的起源、年代、路径和委托的问题成为可能。
{"title":"«Chi si aspetterebbe un Pordenone a Gallipoli?»","authors":"Floriana Conte","doi":"10.30687/va/2385-2720/2022/08/007","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2022/08/007","url":null,"abstract":"The Saint Francis of Assisi with three angels crowning him in a day landscape and two donors in prayer has been known at least since the end of the seventeenth century in the church of San Francesco in Gallipoli, in the province of Lecce (currently the Saint Francis is relocated in the Diocesan Museum - section of Gallipoli “Mons. Vittorio Fusco”). In 1951 Giovanni Urbani brought it to the national attention of art history studies as the work of one of Titian’s greatest contemporaries, Giovanni Antonio de’ Sacchis known as Pordenone, based on an intuition of Sabino Jusco. Yet the provenance of the higher quality sixteenth-century work in a church in the Salento area remains mysterious. The direct inspection of the Saint Francis, including recent exhibitions and restoration interventions, made it possible to re-examine in depth or for the first time the issues concerning the genesis, chronology, paths and commissioning of the painting.","PeriodicalId":344265,"journal":{"name":"<i>Altersstil</i>. Late in the Arts","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120898409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-20DOI: 10.30687/va/2385-2720/2022/08/002
F. Casamassima
This contribution aims to analyse a cycle of frescoes at villa Spinola di San Pietro in Genoa. The paintings are attributed to some of the greatest artists who worked in the city in the 1620s and show a continuity of compositional, stylistic and thematic features that were typical of the sixteenth century. This article will also show the importance of Giovanni Andrea dell’Anguillara’s vernacular translation of the Metamorphoses by Ovid to the iconographic programme of the cycle.
这项贡献旨在分析热那亚别墅Spinola di San Pietro的壁画周期。这些画作被认为是1620年代在这座城市工作的一些最伟大的艺术家的作品，呈现出16世纪典型的构图、风格和主题特征的连续性。本文还将展示乔瓦尼安德里亚德尔安圭拉的白话翻译奥维德的《变形记》对循环的图像程序的重要性。
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