<i>Altersstil</i>. Late in the Arts最新文献

{"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}

{"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}

{"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}

{"title":"Architettura e frammentismo, o lo stile tardo di Giuliano da Sangallo","authors":"Dario Donetti","doi":"10.30687/va/2385-2720/2022/08/001","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2022/08/001","url":null,"abstract":"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.","PeriodicalId":344265,"journal":{"name":"<i>Altersstil</i>. Late in the Arts","volume":"21 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":"122724369","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}

{"title":"A Matter of Attitude\u0000 Bernardo Bellotto’s Altersstil","authors":"Sabine Peinelt-Schmidt","doi":"10.30687/va/2385-2720/2022/08/003","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2022/08/003","url":null,"abstract":"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.","PeriodicalId":344265,"journal":{"name":"<i>Altersstil</i>. Late in the Arts","volume":"24 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":"132946177","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}

{"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}

{"title":"Il lungo Cinquecento nelle volte dell’aristocrazia\u0000 Giovanni Andrea dell’Anguillara al servizio di un Perseo ‘genovese’","authors":"F. Casamassima","doi":"10.30687/va/2385-2720/2022/08/002","DOIUrl":"https://doi.org/10.30687/va/2385-2720/2022/08/002","url":null,"abstract":"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.","PeriodicalId":344265,"journal":{"name":"<i>Altersstil</i>. Late in the Arts","volume":"31 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":"124436062","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}