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“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) "卢浮宫将重新开放！"。战后报纸上的巴黎博物馆新布局：安德烈-沙斯特尔等人（1945-1953 年）
Opus Incertum Pub Date : 2023-12-13 DOI: 10.36253/opus-14841
Eva Renzulli
{"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}
引用次数: 0
“Un museo di esposizioni temporanee”: il Padiglione d’arte contemporanea di Ignazio Gardella nel contesto culturale milanese tra anni Quaranta e Cinquanta "临时展览博物馆"：1940 至 1950 年代米兰文化背景下的伊格纳齐奥-加德拉当代艺术展馆
Opus Incertum Pub Date : 2023-12-13 DOI: 10.36253/opus-14848
Veronica Locatelli
{"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}
引用次数: 0
Mostre didattiche e musei: Giulio Carlo Argan e le sperimentazioni italiane nel secondo dopoguerra (1949-1952) 教育展览和博物馆：朱利奥-卡罗-阿尔甘与二战后意大利的实验（1949-1952 年）
Opus Incertum Pub Date : 2023-12-13 DOI: 10.36253/opus-14844
Martina Lerda
{"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}
引用次数: 0
Il dibattito su memoria e modernità nella museografia italiana del secondo dopoguerra: spazi espositivi tra idealismo e fenomenologia 二战后意大利博物馆学中关于记忆与现代性的辩论：理想主义与现象学之间的展览空间
Opus Incertum Pub Date : 2023-12-13 DOI: 10.36253/opus-14838
I. Baldriga
{"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}
引用次数: 0
Il museo secondo Gio Ponti 吉奥-庞蒂眼中的博物馆
Opus Incertum Pub Date : 2023-12-13 DOI: 10.36253/opus-14845
Cecilia Rostagni
{"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}
引用次数: 0
Sul perduto bozzetto della medaglia per il theatrum canonizationis (1629) di Andrea Corsini nella Basilica di San Pietro a Roma 关于已遗失的罗马圣彼得大教堂安德烈亚-科西尼（Andrea Corsini）创作的加冕仪式奖章（1629 年）草图
Opus Incertum Pub Date : 2023-12-13 DOI: 10.36253/opus-14852
Maria Grazia D’Amelio, Delfín Rodríguez Ruiz
{"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}
引用次数: 0
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