In the aftermath of World War II, the reopening of the Louvre Museum became an important issue. The process was long and complex, and the rationale not always obvious to the public. Newspapers played an important role in conveying the methods applied to achieve it. In 1951, the art historian André Chastel published, in Le Monde, a critical inquiry on the situation of the Parisian Museum. His analysis stands out for its accuracy in describing the state of the building, revealing the curators’ and architects’ challenges due to the modernization of display methods. His work also aspired to raise public awareness on the functioning of a museum, highlighting the process of implementing its internal services (libraries and avant-garde scientific laboratories). Drawing on Chastel’s analysis and, from a comparative perspective, those of other journalists and art critics, this study highlights the value of the engaged journalism of these well-informed critics as relevant sources to appreciate the different transformations used to put the Louvre’s modernization into practice.
{"title":"“Le Louvre va nous être rendu!”. La nuova sistemazione del museo parigino nei giornali all’indomani della guerra: André Chastel e gli altri (1945-1953)","authors":"Eva Renzulli","doi":"10.36253/opus-14841","DOIUrl":"https://doi.org/10.36253/opus-14841","url":null,"abstract":"In the aftermath of World War II, the reopening of the Louvre Museum became an important issue. The process was long and complex, and the rationale not always obvious to the public. Newspapers played an important role in conveying the methods applied to achieve it. In 1951, the art historian André Chastel published, in Le Monde, a critical inquiry on the situation of the Parisian Museum. His analysis stands out for its accuracy in describing the state of the building, revealing the curators’ and architects’ challenges due to the modernization of display methods. His work also aspired to raise public awareness on the functioning of a museum, highlighting the process of implementing its internal services (libraries and avant-garde scientific laboratories). Drawing on Chastel’s analysis and, from a comparative perspective, those of other journalists and art critics, this study highlights the value of the engaged journalism of these well-informed critics as relevant sources to appreciate the different transformations used to put the Louvre’s modernization into practice.","PeriodicalId":505818,"journal":{"name":"Opus Incertum","volume":"126 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139181731","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}
“A museum of temporary exhibitions”: the architect-engineer Ignazio Gardella used this formula to describe the PAC (Contemporary Art Pavilion) in Milan, summarising the prerogatives and destiny of his first museographic project, opened in 1954, which stood out for its originality in the Italian cultural panorama of the immediate post-war period. The ambiguity of the architectural structure, precariously balanced between an uncertain museum identity, permanent by vocation, and a flexible space designed for a variable palimpsest, was coupled with the uncertainty of its content. The interweaving of the project’s documentary history and the specificities of its underlying cultural plan reveal the identity and political strategies of what, at least in its intentions, was to be the first civic museum of contemporary art in Italy.
{"title":"“Un museo di esposizioni temporanee”: il Padiglione d’arte contemporanea di Ignazio Gardella nel contesto culturale milanese tra anni Quaranta e Cinquanta","authors":"Veronica Locatelli","doi":"10.36253/opus-14848","DOIUrl":"https://doi.org/10.36253/opus-14848","url":null,"abstract":"“A museum of temporary exhibitions”: the architect-engineer Ignazio Gardella used this formula to describe the PAC (Contemporary Art Pavilion) in Milan, summarising the prerogatives and destiny of his first museographic project, opened in 1954, which stood out for its originality in the Italian cultural panorama of the immediate post-war period. The ambiguity of the architectural structure, precariously balanced between an uncertain museum identity, permanent by vocation, and a flexible space designed for a variable palimpsest, was coupled with the uncertainty of its content. The interweaving of the project’s documentary history and the specificities of its underlying cultural plan reveal the identity and political strategies of what, at least in its intentions, was to be the first civic museum of contemporary art in Italy.","PeriodicalId":505818,"journal":{"name":"Opus Incertum","volume":"140 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139181342","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}
This article reconstructs ministerial developments relating to the creation of educational exhibitions in Italian museums in the immediate post-war period and the first exhibitions of this type set up at the Museo Nazionale di San Matteo in Pisa (exhibition dedicated to the Polittico dei Carmelitani by Masaccio) and at the Galleria Nazionale d’Arte Moderna in Rome (exhibition on Nuragic bronzes). It is one of the first forms of reception and implementation in Italy of the principles promoted by ICOM on the educational function of museums and among its main promoters was Giulio Carlo Argan who dedicated articles to the ministerial initiative, not only in the Bolletino d’Arte, but also in Museum, the official journal of UNESCO. The aim of the paper is to bring the Italian experience into dialogue with contemporary international debate on the role of museums.
这篇文章重现了战后不久在意大利博物馆举办教育展览的相关部委发展情况，以及在比萨国家圣玛特博物馆（马萨乔的《Polittico dei Carmelitani》展）和罗马国家现代艺术馆（努拉基青铜器展）举办的首批此类展览。这是意大利最早接受和执行国际博物馆理事会提倡的博物馆教育功能原则的形式之一，其主要推动者之一是 Giulio Carlo Argan，他不仅在《Bolletino d'Arte》上，还在联合国教科文组织官方期刊《博物馆》上专门撰文介绍这一部级倡议。本文旨在将意大利的经验与当代国际上关于博物馆作用的辩论结合起来。
{"title":"Mostre didattiche e musei: Giulio Carlo Argan e le sperimentazioni italiane nel secondo dopoguerra (1949-1952)","authors":"Martina Lerda","doi":"10.36253/opus-14844","DOIUrl":"https://doi.org/10.36253/opus-14844","url":null,"abstract":"This article reconstructs ministerial developments relating to the creation of educational exhibitions in Italian museums in the immediate post-war period and the first exhibitions of this type set up at the Museo Nazionale di San Matteo in Pisa (exhibition dedicated to the Polittico dei Carmelitani by Masaccio) and at the Galleria Nazionale d’Arte Moderna in Rome (exhibition on Nuragic bronzes). It is one of the first forms of reception and implementation in Italy of the principles promoted by ICOM on the educational function of museums and among its main promoters was Giulio Carlo Argan who dedicated articles to the ministerial initiative, not only in the Bolletino d’Arte, but also in Museum, the official journal of UNESCO. The aim of the paper is to bring the Italian experience into dialogue with contemporary international debate on the role of museums.","PeriodicalId":505818,"journal":{"name":"Opus Incertum","volume":"34 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139181835","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}
After World War II, the diffusion of Phenomenology was pivotal in inspiring a different consideration of the relationship between visitors and artworks, fostering Italian museological experimentation and the evolution of aesthetic thought. In this sense, the contributions of some art historians interested in promoting awareness and participation in museum experience were fundamental. By adopting a new perspective, the contribution analyzes some aspects of this cultural context, focusing in particular on the experience of Cesare Brandi and Carlo Ludovico Ragghianti.
第二次世界大战后，现象学的传播在激发对参观者与艺术品之间关系的不同思考、促进意大利博物馆学实验和美学思想的发展方面发挥了关键作用。从这个意义上说，一些有志于促进博物馆体验的意识和参与的艺术史学家的贡献是至关重要的。通过采用新的视角，这篇论文分析了这一文化背景的某些方面，尤其侧重于 Cesare Brandi 和 Carlo Ludovico Ragghianti 的经验。
{"title":"Il dibattito su memoria e modernità nella museografia italiana del secondo dopoguerra: spazi espositivi tra idealismo e fenomenologia","authors":"I. Baldriga","doi":"10.36253/opus-14838","DOIUrl":"https://doi.org/10.36253/opus-14838","url":null,"abstract":"After World War II, the diffusion of Phenomenology was pivotal in inspiring a different consideration of the relationship between visitors and artworks, fostering Italian museological experimentation and the evolution of aesthetic thought. In this sense, the contributions of some art historians interested in promoting awareness and participation in museum experience were fundamental. By adopting a new perspective, the contribution analyzes some aspects of this cultural context, focusing in particular on the experience of Cesare Brandi and Carlo Ludovico Ragghianti.","PeriodicalId":505818,"journal":{"name":"Opus Incertum","volume":"14 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139180713","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}
The paper analyzes the conception of the museum through Gio Ponti’s writings, projects and work. Although over the course of his long and intense professional career he only designed the Denver Art Museum, opened in 1971, Ponti began reflecting on the role of the museum as early as the 1930s. The creation of the new headquarters of the Faculty of Letters (Liviano) and the arrangement of the rooms of the Rectorate of the University of Padua anticipate themes that would only later become the subject of a wider critical discussion, not only in the museographic field, proposing an idea of the museum as a living place and a place of education in direct contact with works of art of every age and genre.
{"title":"Il museo secondo Gio Ponti","authors":"Cecilia Rostagni","doi":"10.36253/opus-14845","DOIUrl":"https://doi.org/10.36253/opus-14845","url":null,"abstract":"The paper analyzes the conception of the museum through Gio Ponti’s writings, projects and work. Although over the course of his long and intense professional career he only designed the Denver Art Museum, opened in 1971, Ponti began reflecting on the role of the museum as early as the 1930s. The creation of the new headquarters of the Faculty of Letters (Liviano) and the arrangement of the rooms of the Rectorate of the University of Padua anticipate themes that would only later become the subject of a wider critical discussion, not only in the museographic field, proposing an idea of the museum as a living place and a place of education in direct contact with works of art of every age and genre.","PeriodicalId":505818,"journal":{"name":"Opus Incertum","volume":"373 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139181185","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}
On 22 April 1629, the day of the canonisation of the Florentine Andrea Corsini, the apse of St. Peter’s was refigured and refunctioned with a scenographic ephemeral decoration designed by Giovan Lorenzo Bernini. It consisted of a wooden lining with a peribolos of architraved columns, all painted to simulate stone, bronze and gold, with the papal throne in the centre. The ceremony is immortalized in a description by Federico Cristofari, in an engraving (1625) from a reworked copper plate (1628-1629) and on two medals bearing, on the reverse side, a figurative scene in which some details of the canonisation can be glimpsed. A preparatory sketch for an uncoined medal (Raclin Murphy Museum of Art) and, in recent years, a second sketch for an unexecuted medal have also been traced back to the event. The latter sketch, which was destroyed during the Spanish Civil War and of which only a photographic reproduction is preserved (Consejo Superior de Investigaciones Científicas in Madrid), offers further valuable information on the teatro aperto created to ensure that the ceremony was fully visible to the faithful present in the Basilica.
{"title":"Sul perduto bozzetto della medaglia per il theatrum canonizationis (1629) di Andrea Corsini nella Basilica di San Pietro a Roma","authors":"Maria Grazia D’Amelio, Delfín Rodríguez Ruiz","doi":"10.36253/opus-14852","DOIUrl":"https://doi.org/10.36253/opus-14852","url":null,"abstract":"On 22 April 1629, the day of the canonisation of the Florentine Andrea Corsini, the apse of St. Peter’s was refigured and refunctioned with a scenographic ephemeral decoration designed by Giovan Lorenzo Bernini. It consisted of a wooden lining with a peribolos of architraved columns, all painted to simulate stone, bronze and gold, with the papal throne in the centre. The ceremony is immortalized in a description by Federico Cristofari, in an engraving (1625) from a reworked copper plate (1628-1629) and on two medals bearing, on the reverse side, a figurative scene in which some details of the canonisation can be glimpsed. A preparatory sketch for an uncoined medal (Raclin Murphy Museum of Art) and, in recent years, a second sketch for an unexecuted medal have also been traced back to the event. The latter sketch, which was destroyed during the Spanish Civil War and of which only a photographic reproduction is preserved (Consejo Superior de Investigaciones Científicas in Madrid), offers further valuable information on the teatro aperto created to ensure that the ceremony was fully visible to the faithful present in the Basilica.","PeriodicalId":505818,"journal":{"name":"Opus Incertum","volume":"348 5-6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139181187","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}
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