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class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">Alessandro Biella</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://unicatt.academia.edu/">Università Cattolica del Sacro Cuore (Catholic University of the Sacred Heart)</a>, <a class="u-tcGrayDarker" href="https://unicatt.academia.edu/Departments/Facolt%C3%A0_di_Lettere_e_Filosofia/Documents">Facoltà di Lettere e Filosofia</a>, <span class="u-tcGrayDarker">Graduate Student</span></div><div><a class="u-tcGrayDarker" href="https://unipd.academia.edu/">Università degli Studi di Padova</a>, <a class="u-tcGrayDarker" href="https://unipd.academia.edu/Departments/Dipartimento_di_Beni_Culturali_archeologia_storia_dell_arte_del_cinema_e_della_musica_DBC/Documents">Dipartimento di Beni Culturali: archeologia, storia dell’arte, del cinema e della musica - DBC</a>, <span class="u-tcGrayDarker">Alumnus</span></div><div><a class="u-tcGrayDarker" href="https://unipd.academia.edu/">Università degli Studi di Padova</a>, <a class="u-tcGrayDarker" href="https://unipd.academia.edu/Departments/Scuola_Galileiana_di_Studi_Superiori/Documents">Scuola Galileiana di Studi Superiori</a>, <span class="u-tcGrayDarker">Alumnus</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="Alessandro" data-follow-user-id="82042183" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden profile-cta-button grow js-profile-unfollow-button" data-broccoli-component="user-info.unfollow-button" data-click-track="profile-user-info-unfollow-button" data-unfollow-user-id="82042183"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">done</span>Following</button></div></div><div class="user-stats-container"><a><div class="stat-container js-profile-followers"><p class="label">Followers</p><p class="data">205</p></div></a><a><div class="stat-container js-profile-followees" data-broccoli-component="user-info.followees-count" data-click-track="profile-expand-user-info-following"><p class="label">Following</p><p class="data">13</p></div></a><a><div class="stat-container js-profile-coauthors" data-broccoli-component="user-info.coauthors-count" data-click-track="profile-expand-user-info-coauthors"><p class="label">Co-author</p><p class="data">1</p></div></a><div class="js-mentions-count-container" style="display: none;"><a href="/AlessandroBiella/mentions"><div class="stat-container"><p class="label">Mentions</p><p class="data"></p></div></a></div><span><div class="stat-container"><p class="label"><span class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></span></div><div class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">I was born in Seriate (BG, Italy), May 13th 1994. I am from Villa di Serio (BG).<br />Former student at Liceo Classico Statale "Paolo Sarpi" (Bergamo).<br />Former trainee at Fondazione Brescia Musei (Brixia Civic Museums) and Complesso Monumentale della Pilotta, Parma (National Museums of Parma).<br />Former student of History of Art at Padua University (three-year and master's degree).<br />Former student of Moral Sciences at Galileian School ("Scuola Galileiana di Studi Superiori", SGSS).<br />Scuola di Specializzazione in Beni storico artistici, Università del Sacro Cuore, Milano<br />Volontario in Servizio civile (Civil Service volunteer), Associazione "Giovanni Secco Suardo", Lurano (BG).<br />Insegnante, Terza Università CGIL (Teacher in a University program for the elderlies)<br />I speak English, French, a bit of German, I know Latin and ancient Greek.<br />I am a volunteer in my village. I enjoy reading, cycling, cinema and TV series, music (piano), visiting museums and cultural heritage, spreading knowledge (expecially about art and its safeguard), acting (theater recitals), hiking.<br /><span class="u-fw700">Phone: </span>+393663817470<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><p class="ds2-5-body-md-bold">Related Authors</p></div><ul class="suggested-user-card-list"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://independent.academia.edu/fernandocova"><img class="profile-avatar u-positionAbsolute" alt="fernando cova" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" 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role="presentation"><a data-section-name="" data-toggle="tab" href="#all" role="tab">all</a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Videos" data-toggle="tab" href="#videos" role="tab" title="Videos"><span>1</span> <span class="ds2-5-body-sm-bold">Videos</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Papers" data-toggle="tab" href="#papers" role="tab" title="Papers"><span>10</span> <span class="ds2-5-body-sm-bold">Papers</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Conference-Presentations" data-toggle="tab" href="#conferencepresentations" role="tab" title="Conference Presentations"><span>15</span> <span class="ds2-5-body-sm-bold">Conference Presentations</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Drafts" data-toggle="tab" href="#drafts" role="tab" title="Drafts"><span>4</span> <span class="ds2-5-body-sm-bold">Drafts</span></a></li></ul></div><div class="divider ds-divider-16" style="margin: 0px;"></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Videos" id="Videos"><h3 class="profile--tab_heading_container">Videos by Alessandro Biella</h3></div><style type="text/css">/*thumbnail*/ .video-thumbnail-container { position: relative; height: 88px !important; box-sizing: content-box; } .thumbnail-image { height: 100%; width: 100%; object-fit: 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src="https://academia-edu-videos.s3.amazonaws.com/transcoded/1dK2ej/thumbnail.jpg?response-content-disposition=inline%3B%20filename%3D%22thumbnail.jpg%22%3B%20filename%2A%3DUTF-8%27%27thumbnail.jpg&response-content-type=image%2Fjpeg&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=ASIATUSBJ6BAET4LWAPP%2F20250304%2Fus-east-1%2Fs3%2Faws4_request&X-Amz-Date=20250304T202230Z&X-Amz-Expires=20624&X-Amz-Security-Token=IQoJb3JpZ2luX2VjEL3%2F%2F%2F%2F%2F%2F%2F%2F%2F%2FwEaCXVzLWVhc3QtMSJIMEYCIQCjGFBb4FvNzJktEhqF6o%2Bkdoe5c2YlHgVBYaKRgGK7XQIhALf48xe2oACCJ2wBQjYkB%2BPufyuIbxZnEdHJoAsNkCc8KpYECPX%2F%2F%2F%2F%2F%2F%2F%2F%2F%2FwEQABoMMjUwMzE4ODExMjAwIgxCL9%2BPDRrkPxoFGM8q6gMehu6fUDQwebceHmpCEb8l31bYmXeUudo6LpSudF4N0pEb5MRwRRTPRRN9uDDe804IaHEEo0Z%2BGWtuQwqBXEMwBDClj%2BWK3l4NnFjw6RG6JGs81SwBxxiTQM4p6CnnSg%2FlPFD7ltVIblL4Nwga3dJhtzovrUZUqnP%2BUXmtCoBmprCptIsYepmjgrRyJAnhHojcM383dAuipp6wamWlYMWmsWmSDnrXveFwjaobXLVUtzym3Wfi72fLlBFRyWzu7QC1jStYKmZgUZIIuvely1t25UCNO%2Fy7EfzWl5NBEmiiznWyZLsbC1sAoet6LV756wZmCDEKI8XFqnwZivcRvJyxgjYoR1UR7TwHv9Lt1dTeRDWpVOuA6azpgCex6Q5G2tLZ2FGej2u%2ByxkWQ8Yo5U%2FMXUfajMAm0rFgTn0CJnk5DzC2BOl2%2Bgp7sg%2BJJY9JS%2FtTSKQhTihUpuk6PGIDJDkobf4kghQNKFN4GgSZQlLIl8gDdCBOEIhGO4neaGEVj1zgCIYoWz2R5hZtl7V3QdGTaLRFpxEGBlo8gAolcEZeXpZPoWZ%2FF3vuMsxL7Kzl1znAQOxmTc4rMNyELxbSCZjc8pRnqWpQejdRwzbGvqxQbAJvQER8UAnqJcCHj40DmVI5MzKjHeninxHGMLa6nb4GOqQB50l5yRIFYjmK02fK4NPY4WhUk9U0OaZyVNRGsR0Zh%2FEQi4Y5gyUuH4Zg3wjJFwMh7La1nSD73Rj%2FOdtrLYdd1suivUKB2K4UXvgUQC3lMV8FN3Y2PNGNAWjjIBqub0mMqRTlid8bb5qk045OyR6HiGdER7b45R0S5wIJ4VjCBkmOAD%2FPWCpRhgqwTiNBNuF0jm5Vz1gLAH%2FS%2FUwV1XehBIfZEYY%3D&X-Amz-SignedHeaders=host&X-Amz-Signature=c5e26a7a222d97f6c2b95942fd62003c43238dcc93c3f3a938eff61a19d35bba" /><img alt="Play" class="play-icon" src="//a.academia-assets.com/images/video-play-icon.svg" /><div class="video-duration">01:29:16</div></div></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" href="https://www.academia.edu/video/1dK2ej">La collezione Thannhauser: da Van Gogh a Picasso</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Conferenza sulla collezione d'arte contemporanea di Heinrich e Justin K. Thannhauser (New York, S...</span><a class="js-work-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Conferenza sulla collezione d'arte contemporanea di Heinrich e Justin K. Thannhauser (New York, Solomon R. Guggenheim Museum) in occasione della mostra tenuta a Milano, Palazzo Reale: uno spaccato sulla storia e gli artisti di una collezione cruciale per lo sviluppo dell'arte contemporanea dai primi anni del '900 agli anni '60. Le diapositive mostrate durante la conferenza sono disponibili nella sezione apposita. <br /> <br />[EN VERSION] A conference about the Thannhauser Collection: a breakdown of its history and its artists, as a contribution to the background of contemporary art taste from the beginning of 20th Century to the 1960s. Slideshows avalaible in the specific section of this profile.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-video-id="1dK2ej"><a class="js-profile-work-strip-edit-button" href="https://unicatt.academia.edu/video/edit/1dK2ej" rel="nofollow" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-video-id="1dK2ej">4 views</span></span></span></div></div></div><div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Alessandro Biella</h3></div><div class="js-work-strip profile--work_container" data-work-id="73327518"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/73327518/Veneti_a_palazzo_anatomia_di_due_dipinti_della_collezione_vescovile"><img alt="Research paper thumbnail of Veneti a palazzo: anatomia di due dipinti della collezione vescovile" class="work-thumbnail" src="https://attachments.academia-assets.com/81890516/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/73327518/Veneti_a_palazzo_anatomia_di_due_dipinti_della_collezione_vescovile">Veneti a palazzo: anatomia di due dipinti della collezione vescovile</a></div><div class="wp-workCard_item"><span>Insula Fulcheria. Rassegna di studi e documentazioni di Crema e del cremasco a cura del Museo civico di Crema</span><span>, Dec 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Un lavoro di redazione di schede a conclusione di un laboratorio universitario è divenuto una pre...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Un lavoro di redazione di schede a conclusione di un laboratorio universitario è divenuto una preziosa occasione di studio su due dipinti custoditi nel palazzo vescovile di Crema: il “Mosè fa scaturire l'acqua dalla roccia” e il “Sacrificio di Noè”. Grazie al ritrovamento di un documento inedito nell’archivio diocesano, è stato possibile determinare come essi facessero parte del primo nucleo della collezione, destinato in perpetuo dal vescovo veronese Marcantonio Lombardi nella disponibilità dei successori. Tale scoperta è stata poi alla base di un tentativo di attribuzione. Smentita per entrambi la paternità di Martino Cignaroli ipotizzata “in partenza”, grazie alla recente pubblicazione del dott. Cesare Alpini si è identificata nel Mosè una variante del soggetto dipinto da Gregorio Lazzarini, maestro del Tiepolo; più complicato il ragionamento intorno al “Noè”, così classico e solenne, che però ci ha portati a ipotizzare una provenienza dalla cerchia di Francesco Ruschi.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8cef28ad588bcaba1e40375237d2054a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":81890516,"asset_id":73327518,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/81890516/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="73327518"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="73327518"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 73327518; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37781554"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37781554/LA_TEORIA_DEL_NEOBAROCCO_IN_GILLO_DORFLES_UNA_VALUTAZIONE_CRITICA"><img alt="Research paper thumbnail of LA TEORIA DEL NEOBAROCCO IN GILLO DORFLES: UNA VALUTAZIONE CRITICA" class="work-thumbnail" src="https://attachments.academia-assets.com/57778240/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37781554/LA_TEORIA_DEL_NEOBAROCCO_IN_GILLO_DORFLES_UNA_VALUTAZIONE_CRITICA">LA TEORIA DEL NEOBAROCCO IN GILLO DORFLES: UNA VALUTAZIONE CRITICA</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La notizia della scomparsa di Gillo Dorfles, dopo quasi novant’anni di carriera intellettuale cos...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La notizia della scomparsa di Gillo Dorfles, dopo quasi novant’anni di carriera intellettuale costellata di un numero molto elevato di opere letterarie, innumerevoli articoli e contributi di vario genere, e coronata da numerosi riconoscimenti, ha consegnato la sua opera in modo definitivo all’analisi e allo studio dei posteri. Un corpus, si è detto, particolarmente vasto, per estensione temporale e per argomenti, frutto della straordinaria varietà d’interessi dello studioso triestino. Sempre lo stesso articolo evidenziava come la poliedricità di Dorfles derivasse dalle sue conoscenze personali, acquisite sin dalla giovinezza trascorsa in quel crocevia tra l’Italia e l’Europa centrale che fu la Trieste austro-ungarica. Altri articoli lo hanno ricordato, di volta in volta, come professore di estetica in alcune importanti università; come critico d’arte che sdoganò il kitsch, che sfidò l’idealismo crociano ancora dominante e la concezione dell’arte come un organismo autonomo, insieme di valori universali decisi da una ristretta élite che determina il gusto, teorizzando che fosse invece la società, in tutte le sue diverse espressioni, a plasmarlo; infine come artista. Il tutto sempre guardando all’arte, e nello specifico alla sua critica, mai alla storia, per conservare sempre quell’approccio “aggressivo”, più vicino ai paesi di cultura tedesca che all’Italia, sempre aggiornato e attento alle trasformazioni dell’arte e della società, del costume e della moda, radicato nella passione e nella curiosità per il mondo e il presente dell’uomo , assunto costantemente come punto di partenza per nuove nozioni. Oltre a riconoscere l’importanza di Gillo Dorfles per la critica d’arte e la filosofia italiana, la sua morte consente però anche una rilettura a posteriori della sua figura, e i dovuti elogi tributatigli non devono oscurarne gli aspetti controversi. È infatti innegabile che l’enorme varietà dei suoi interessi non gli abbia consentito di studiarli in modo particolarmente approfondito, vanificando l’enorme potenziale di molte intuizioni; per questo, sebbene il pensiero dorflesiano sia facile da ricostruire nel suo sviluppo, esso è composto di più costruzioni razionali diverse, unite spesso solo dal comune pensiero dell’autore, e da parallelismi o giustapposizioni di opere, nomi e correnti in realtà profondamente distanti. Inoltre, se le origini triestine e la formazione medica possono aver contribuito ad un punto di vista fortemente all’avanguardia rispetto alla critica dominante, la mancata formazione come storico dell’arte e i mancati contatti con figure importanti lo hanno privato di nozioni fondamentali per la sua opera. Tale rilettura critica costituisce anche lo scopo del presente lavoro, che si concentrerà sul primo interesse di Dorfles, l’architettura, e in particolare sulla teoria del Barocco nell’architettura moderna, alla quale fu dedicato l’omonimo libro uscito nel 1951, opera prima dello studioso. Il volume anticipò infatti di più di trent’anni la prima teoria sul barocco nella società contemporanea elaborata da Omar Calabrese, e s’inseriva nel ricco e tormentato dibattito sull’architettura del secondo dopoguerra, in cerca di risposte soddisfacenti di fronte all’enorme distruzione di vite umane e di centri urbani causata dal conflitto, e di nuova linfa dopo il tramonto della generazione che aveva decretato il successo del Movimento Moderno e dell’International Style. Con il suo tipico approccio, Dorfles identifica tale risposta in un insieme di valori già propri dell’architettura barocca, che attraversando tutte le epoche sino al presente si sono progressivamente manifestati nell’opera di vari architetti, giungendo ad un’epoca matura per la loro ripresa.<br />Una ricostruzione senza dubbio affascinante, ma che non può non fare i conti con un’opera di poco anteriore, che costituisce il vero «convitato di pietra»  con cui "Barocco nell’architettura moderna" è chiamato a confrontarsi: "Verso un’architettura organica", pubblicata pochi mesi prima della fine della guerra dallo storico dell’arte Bruno Zevi. Lo accomuna con Dorfles il medesimo punto di partenza e il medesimo scopo, ma non la risposta, che nel suo caso è costituita dall’architettura di cui fu pioniere Frank Lloyd Wright, radicata nella cultura americana e concettualmente più avanzata rispetto alle coeve ricerche europee. Per questo, dopo aver esposto per sommi capi la teoria di Dorfles, potremmo metterla a confronto con la soluzione di Zevi, consentendoci una valutazione che possa restituircene un giusto quadro critico.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="be9b193362ff67d33aae431fbc9a0ff5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57778240,"asset_id":37781554,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57778240/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37781554"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37781554"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37781554; 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Lo sguardo di un conoscitore nella Venezia del '500" class="work-thumbnail" src="https://attachments.academia-assets.com/57774834/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37778589/ET_MAXIME_IN_LI_OCCH%C3%8E_Lo_sguardo_di_un_conoscitore_nella_Venezia_del_500">ET MAXIME IN LI OCCHÎ». Lo sguardo di un conoscitore nella Venezia del '500</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La figura del patrizio veneziano Marcantonio Michiel, nel panorama del Rinascimento veneziano del...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La figura del patrizio veneziano Marcantonio Michiel, nel panorama del Rinascimento veneziano della prima metà del Cinquecento, rappresenta una figura d'importanza centrale, poliedrica e variegata, non limitata alla sua fama precipua come fine conoscitore d'arte e autore della Notizia delle opere del disegno. A una vita priva di avvenimenti di nota, fanno da contraltare una fitta rete di relazioni con i principali protagonisti della cultura umanista di Venezia (e non solo), un fine gusto per il collezionismo, e un senso critico sviluppatosi in modo coerente dai primi interessi architettonici, a quelli per le antichità, passando per le osservazioni politiche e diplomatiche. Questa vitalità intellettuale è espressa negli scritti del patrizio, tra cui la Notizia, nostra fonte principale di conoscenza del collezionismo veneto dell'epoca, soprattutto per quanto riguarda la figura di Giorgione. 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Percorso nella pietà e nel mecenatismo del secondo Cinquecento a Venezia" class="work-thumbnail" src="https://attachments.academia-assets.com/57774729/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37778488/TINTORETTO_PER_LE_SCUOLE_DEL_SACRAMENTO_Percorso_nella_piet%C3%A0_e_nel_mecenatismo_del_secondo_Cinquecento_a_Venezia">TINTORETTO PER LE SCUOLE DEL SACRAMENTO. Percorso nella pietà e nel mecenatismo del secondo Cinquecento a Venezia</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Nel panorama dell’arte a Venezia, le cappelle del Sacramento rappresentano un capitolo vasto e im...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Nel panorama dell’arte a Venezia, le cappelle del Sacramento rappresentano un capitolo vasto e importante, espressione della devozione al Corpus Christi iniziata prima della Controriforma e incoraggiata da essa. Tra i molti cicli dipinti, quelli del Tintoretto, figura di grande complessità e spiritualità, emergono per la loro importanza. Analizzandone l’opera nelle diverse sfaccettature tematiche, si ricostruisce assai chiaramente l’evoluzione in senso realistico e mistico delle iconografie sacramentali sotto l’azione del Concilio di Trento, l’influenza delle grandi dispute teologiche e una nuova concezione dell’arte sacra.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fa23c81ea82a8e5562189fa3abd5c629" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57774729,"asset_id":37778488,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57774729/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37778488"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37778488"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37778488; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37778488]").text(description); $(".js-view-count[data-work-id=37778488]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37778488; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37778488']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fa23c81ea82a8e5562189fa3abd5c629" } } $('.js-work-strip[data-work-id=37778488]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37778488,"title":"TINTORETTO PER LE SCUOLE DEL SACRAMENTO. Percorso nella pietà e nel mecenatismo del secondo Cinquecento a Venezia","internal_url":"https://www.academia.edu/37778488/TINTORETTO_PER_LE_SCUOLE_DEL_SACRAMENTO_Percorso_nella_piet%C3%A0_e_nel_mecenatismo_del_secondo_Cinquecento_a_Venezia","owner_id":82042183,"coauthors_can_edit":true,"owner":{"id":82042183,"first_name":"Alessandro","middle_initials":null,"last_name":"Biella","page_name":"AlessandroBiella","domain_name":"unicatt","created_at":"2018-05-23T01:27:36.356-07:00","display_name":"Alessandro Biella","url":"https://unicatt.academia.edu/AlessandroBiella"},"attachments":[{"id":57774729,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/57774729/thumbnails/1.jpg","file_name":"Tintoretto_per_le_Scuole_del_Sacramento.pdf","download_url":"https://www.academia.edu/attachments/57774729/download_file","bulk_download_file_name":"TINTORETTO_PER_LE_SCUOLE_DEL_SACRAMENTO.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57774729/Tintoretto_per_le_Scuole_del_Sacramento-libre.pdf?1542283395=\u0026response-content-disposition=attachment%3B+filename%3DTINTORETTO_PER_LE_SCUOLE_DEL_SACRAMENTO.pdf\u0026Expires=1741123350\u0026Signature=Chuwx0Sr21LZVCxQOR3ZCePgaoSJ6lgqMrloUpbSSW3X~dxdd9-YdkzgXo0ES~5ojuK5-tW9YebOXifbYYGsiIFPJiAwquoVkgWLcnL9lAPv7oShud5hk8TERUN975~5VkzD5gD6Z21j0LfUKuufZR1kgNKE-IfRTEFMORu0tFiGgkJNejUCVsoBLFffyBFNAl466cGxI4Wo7yF~-GZgp4GhKqDVOEji0Ok3aT0qsif3Ho3~DNKGGXEEgWymN-3cDMJ~~zqc-cOqyivT2EqrY-rgYfxYd9-ApaXZQAhUjMUHwDh~g9JAJZvqaSKoFCiukqi5USY7d3es~eGrFDhFMg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37778128"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37778128/LE_PARETI_DELLA_SISTINA_CORRISPONDENZE_Cristo_e_il_suo_Vicario_il_Doctor_Gentium_e_il_Doctor_Populi_"><img alt="Research paper thumbnail of LE PARETI DELLA SISTINA. CORRISPONDENZE - Cristo e il suo Vicario, il "Doctor Gentium" e il "Doctor Populi"" class="work-thumbnail" src="https://attachments.academia-assets.com/57774369/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37778128/LE_PARETI_DELLA_SISTINA_CORRISPONDENZE_Cristo_e_il_suo_Vicario_il_Doctor_Gentium_e_il_Doctor_Populi_">LE PARETI DELLA SISTINA. CORRISPONDENZE - Cristo e il suo Vicario, il "Doctor Gentium" e il "Doctor Populi"</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La Cappella Sistina che oggi conosciamo soprattutto perché racchiude gli affreschi di Michelangel...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La Cappella Sistina che oggi conosciamo soprattutto perché racchiude gli affreschi di Michelangelo non si può facilmente paragonare ad altri edifici esistenti. Ogni sua componente decorativa va considerata come un elemento di un insieme che si è sviluppato con la struttura architettonica; e ciascun elemento deve es-sere inteso come il risultato di decisioni pratiche, rispondenti a particolari esigenze e funzionalità. Tale fun-zionalità richiedeva un ambiente adatto a una liturgia specifica, ma anche corrispondeva al concetto di Majestas papalis, una speciale forma di quell’espressione di magnanimità all’origine del più spettacolare edificio e della più spettacolare decorazione del Rinascimento. La Cappella Sistina fu costruita con uno scopo preciso e unico, e la perfezione della Cappella all’epoca di Sisto IV va ricostruita con sforzo d’immaginazione, perché seriamente compromessa dalle aggiunte dei pontefici successivi. Ma anche quando l’integrità orizzontale fu ripristinata, essa venne distrutta definitivamente prima dai disastrosi danni strutturali alla parete di fondo, che portarono alla sostituzione di due delle storie con altre in stile discordante, e poi dal Giudizio Universale che, pur nella sua sensibilità alla struttura che lo contiene, non può non far rimpiangere la perdita della continuità dei ritmi delle finestre e delle cornici, dell’incontro dei cicli storici sopra all’altare, della pala d’altare incorniciata in modo da riflettere il portale d’ingresso, e in conclusione della simmetria. Se si aggiunge come a causa di questo motivo venne anche meno per sempre l’originaria disposizione degli arazzi raffaelleschi (che inoltre saranno “esiliati” dalla Cappella, almeno nel loro essere esposti totalmente, fino al 1983), oggi si ha l’impressione che la Cappella Sistina somigli a un tunnel, con la decorazione originaria su due piatti registri sovrapposti, laddove un sistema decorativo chiuso era stato concepito in armonia con la costruzione, continuo e integrale, come forma e supporto della volta. Grazie ai significativi contributi di studiosi come l’Ettlinger, alla costituzione della iconologia come disciplina storica e ai restauri condotti negli anni ’60-’90 su di essi (con importanti scoperte, primi tra tutti i tituli so-prastanti), ora possiamo guardare il ciclo sistino sotto una nuova luce, nei suoi complessi significati voluti a fine Quattrocento. Ma lo scopo che tale esposizione si propone è giungere a una ricostruzione delle trame esistenti tra questi e il ciclo degli arazzi raffaelleschi che, lungi dall’essere una semplice risposta di Leone X al crescente ruolo istituzionale della Cappella, un’espressione del suo orgoglio di essere il fautore di una nuova età dell’oro (come fu salutato alla sua elezione da Francesco Novello, Egidio da Viterbo, Pietro Delfin e altri) o un richiamo alla tradizione medicea (le tappezzerie del padre Lorenzo) e carolingia (le serie commissionate dai suoi omonimi Leone III e IV), fornirono ulteriore supporto alla simbologia della Cappella, in particolar modo della Maiestas papalis, come già per il suo predecessore. Benché non più nella disposizione originale, la riesposizione del 1983 ha fatto riscoprire il loro fondamentale contributo allo splendore della Sistina, e il restauro dei cartoni di Raffaello, oggi al Victoria and Albert Museum di Londra (1964-65), ha permesso di leggere la loro iconologia in modo finalmente chiaro. Dopo aver affrontato il significato del ciclo sistino, passeremo dunque all’analisi di quello degli arazzi in modo da ricostruire al meglio il sottile gioco di corrispondenze originarie, perfettamente compiuto nello spazio della Cappella.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f7a7f8f897f4728964a1c8494b98d175" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57774369,"asset_id":37778128,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57774369/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37778128"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37778128"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37778128; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37778128]").text(description); $(".js-view-count[data-work-id=37778128]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37778128; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37778128']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f7a7f8f897f4728964a1c8494b98d175" } } $('.js-work-strip[data-work-id=37778128]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37778128,"title":"LE PARETI DELLA SISTINA. CORRISPONDENZE - Cristo e il suo Vicario, il \"Doctor Gentium\" e il \"Doctor Populi\"","internal_url":"https://www.academia.edu/37778128/LE_PARETI_DELLA_SISTINA_CORRISPONDENZE_Cristo_e_il_suo_Vicario_il_Doctor_Gentium_e_il_Doctor_Populi_","owner_id":82042183,"coauthors_can_edit":true,"owner":{"id":82042183,"first_name":"Alessandro","middle_initials":null,"last_name":"Biella","page_name":"AlessandroBiella","domain_name":"unicatt","created_at":"2018-05-23T01:27:36.356-07:00","display_name":"Alessandro Biella","url":"https://unicatt.academia.edu/AlessandroBiella"},"attachments":[{"id":57774369,"title":"","file_type":"docx","scribd_thumbnail_url":"https://attachments.academia-assets.com/57774369/thumbnails/1.jpg","file_name":"LE_PARETI_DELLA_SISTINA._CORRISPONDENZE.docx","download_url":"https://www.academia.edu/attachments/57774369/download_file","bulk_download_file_name":"LE_PARETI_DELLA_SISTINA_CORRISPONDENZE_C.docx","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57774369/LE_PARETI_DELLA_SISTINA._CORRISPONDENZE.docx?1738378788=\u0026response-content-disposition=attachment%3B+filename%3DLE_PARETI_DELLA_SISTINA_CORRISPONDENZE_C.docx\u0026Expires=1739239867\u0026Signature=Sdg3A9m1V2MJAi9ELUSZWGNViVjunVEvaNt9sUxGIRg~Cq2NCd5OD1dTXr2k0yPSlIAkoQDfmvAGQ3CnUrjA6PBC6iBoCYlXxMJSQbO7WMNmTWpK2gZUwlWKRXciXjZ2Geub3FGdFd11eQ1GgBx8sSIlHX1RzCIdT4IRdeDz-rfzBj3y3fxAKxuAURB16g0LyFNx148IxAS2RE61iFh1EFSuyJMjyB0hNFVT1u-QjBIA7xP9SXPZe12rA523MgQyyqW12y201LfE4HBoykd3lxRSxyA~FVZtjLkQt8xInCg1uHGhG40ueW~v38ef8NQefq-IsfHJeG7LPukTnrK-BA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37778053"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37778053/_Delle_Belle_Arti_giusto_estimatore_Giacomo_Carrara_1714_1796_e_la_fondazione_dellAccademia_darte_di_Bergamo"><img alt="Research paper thumbnail of «Delle Belle Arti giusto estimatore»: Giacomo Carrara (1714-1796) e la fondazione dell'Accademia d'arte di Bergamo" class="work-thumbnail" src="https://attachments.academia-assets.com/57774286/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37778053/_Delle_Belle_Arti_giusto_estimatore_Giacomo_Carrara_1714_1796_e_la_fondazione_dellAccademia_darte_di_Bergamo">«Delle Belle Arti giusto estimatore»: Giacomo Carrara (1714-1796) e la fondazione dell'Accademia d'arte di Bergamo</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La figura di Giacomo Carrara è di capitale interesse per la storiografia artistica del Settecento...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La figura di Giacomo Carrara è di capitale interesse per la storiografia artistica del Settecento: un indagatore del patrimonio pittorico locale e delle sue fonti, dotato di un acuto rigore filologico e critico e che conseguì uno stupefacente successo collezionistico. Da ciò ebbe inizio la storia del luogo destinato a divenire memoria del collezionismo privato della città, “albo d’oro” della sua coscienza civica e fulcro di innovazioni di portata non solo locale.<br />Per meglio comprendere la rilevanza del nobile bergamasco, occorre risalire alla sua giovinezza, e agli eventi chiave per la sua formazione. Innanzitutto la famiglia, trasferitasi a Bergamo dal contado e ascesa alla piccola nobiltà cittadina grazie alla mercatura e a una gestione sempre oculata del proprio patrimonio; quindi le difficoltà nel realizzare le proprie ambizioni di viaggiare e acquistare opere d’arte, che poterono realizzarsi solo dopo la scomparsa del padre che si opponeva a tali iniziative. Ma viene anche documentato il progressivo contatto con l’ambiente culturale cittadino, che consentì a Giacomo Carrara di entrare in relazione con figure di spicco (Tassi, il Galgario, Nazari, Brembati, Serassi) e di costruire un’efficace rete di relazioni ancora oggi documentata dalle lettere conservate. Sono poi analizzati i problemi della consistenza della raccolta artistica del padre, dell’eredità, dei primi acquisti, e lo snodo cruciale del viaggio a Roma, dove Giacomo ebbe modo di dimostrare tutta la propria competenza di conoscitore e di stringere importanti amicizie (Bottari, Piranesi). Al termine di questo periodo di formazione, la collezione era orientata verso il classicismo romano-emiliano, in antitesi al Barocco e alla pittura “di genere”.<br />Si passa quindi all’esame del processo di formazione della raccolta d’arte, maturato nella convinzione che solo la divulgazione del sapere e l’educazione dei giovani avrebbero potuto sviluppare la coscienza civica necessaria a salvaguardare il patrimonio artistico di Bergamo dal degrado e dal nascente mercato, per costruire un futuro glorioso. Un progetto motivato dalla nuova istanza di far conoscere la storia e il progresso dell’arte in ogni scuola, soprattutto di quella veneta/bergamasca, e spinto dall’amore universale per la “bella pittura” tipico dell’ambiente collezionistico cittadino, con un approccio sempre meno erudito e sempre più “illuministico”. L’acquisto di opere dalle collezioni cittadine preesistenti consente di evidenziare al meglio l’unicità delle operazioni di Giacomo Carrara nell’ambiente bergamasco e lombardo: una collezione non fossilizzata ed esclusivamente privata ma illustrativa, didattica e aperta a un pubblico fruitore; gli acquisti “mirati”, ottenuti attraverso i contatti con religiosi, pittori, restauratori, antiquari, eruditi, altri collezionisti, evidenziano invece gli stretti rapporti con l’ambiente veneziano e l’importanza raggiunta da Carrara come consulente e venditore. Il tutto non è comunque esente da problemi critici, dovuti in primo luogo alla lunga gestazione della Galleria e della Scuola di pittura per giovani poveri, che si estende per più di quarant’anni dai primi progetti ideali ad un’istituzione finale fortemente controllata da una Commissarìa. A complicare il quadro intervengono poi le ricostruzioni dell’aspetto originario dell’edificio (ampliato pochi anni dopo) e dell’allestimento, ancora ancorato al Settecento nonostante le nuove istanze illuministiche e i progetti elaborati in quegli anni; infine, le oggettive difficoltà della neonata istituzione nei difficili anni della dominazione napoleonica, culminate nella dispersione all’asta di gran parte del patrimonio quando la collezione non corrispose più alle mutate esigenze museografiche.<br />Tutto questo fu però possibile solo grazie ad una riconosciuta autorità in campo storico-artistico, conseguita grazie alle numerose iniziative editoriali alle quali partecipò, pur pubblicando pochissimo dei propri scritti. La tesi ne analizza, in particolare, tre: le Lettere pittoriche di Giovanni Bottari, riferimento imprescindibile per i nascenti studi artistici e occasione di dialogo con una figura eminente dell’ambiente erudito romano. La guida artistica di Bergamo scritta dal comico bolognese Francesco Bartoli, la prima sulla città orobica; e l’impresa che raccolse il frutto delle ricerche del conte e di tutti i conoscitori bergamaschi sulla pittura locale, quelle Vite di Francesco Maria Tassi iniziate con entusiasmo e portate a termine, cinquant’anni dopo, a fatica e in un contesto ormai cambiato, ma che determinarono un proficuo scambio tra Bergamo e Venezia.<br />Giacomo Carrara appare dunque come il polo d’orientamento della cultura storico-artistica di Bergamo. Una figura sospesa tra passione collezionistica e illuminismo; tra il Settecento degli studi dell’élite di provincia e l’Ottocento, il secolo della nuova coscienza artistica di personaggi come Luigi Lanzi, del mercato e dell’accentramento degli interessi artistici nelle grandi città. Una figura, in conclusione, che per i suoi successi nonostante le difficoltà divenne presto un mito cittadino, che solo recentemente si è iniziata a studiare in tutta la sua valenza storica, critica e problematica, ma che potrebbe riservare ancora molte sorprese.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ec6c27ed012bd3e488e3f66ca0389829" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57774286,"asset_id":37778053,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57774286/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37778053"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37778053"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37778053; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36723225"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36723225/PIETRO_TOESCA_E_LARTE_VENETA_Riflessioni_sul_metodo_a_partire_da_Un_capolavoro_dell_oreficeria_veneziana_della_fine_del_Dugento_"><img alt="Research paper thumbnail of PIETRO TOESCA E L'ARTE VENETA. Riflessioni sul metodo a partire da "Un capolavoro dell’oreficeria veneziana della fine del Dugento"." class="work-thumbnail" src="https://attachments.academia-assets.com/56664659/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36723225/PIETRO_TOESCA_E_LARTE_VENETA_Riflessioni_sul_metodo_a_partire_da_Un_capolavoro_dell_oreficeria_veneziana_della_fine_del_Dugento_">PIETRO TOESCA E L'ARTE VENETA. Riflessioni sul metodo a partire da "Un capolavoro dell’oreficeria veneziana della fine del Dugento".</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Breve relazione dove si tenta di tracciare un profilo del pensiero di Pietro Toesca sull'arte ven...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Breve relazione dove si tenta di tracciare un profilo del pensiero di Pietro Toesca sull'arte veneta. Coerentemente ai propri interessi per l'arte del medioevo, lo studioso non si occupò mai del periodo più fiorente dell'arte lagunare, preferendo articoli concisi, ma dalla prosa assai sorvegliata, su singole opere, come il dittico devozionale eseguito dal 1290 al 1296 a Venezia per Andrea III d’Ungheria e conservato a Berna. <br />Più che condurre un'analisi materiale e tracciarne la storia, l'articolo si propone di dimostrare la provenienza veneta del manufatto attraverso due linee di ragionamento sovrapposte: il confronto con oggetti analoghi e il vaglio delle fonti. Dall'articolo emerge la priorità data da Toesca ai problemi letterari come fondamento di quelli storico-artistici e ad una trattazione comprensiva, necessaria per la piena riabilitazione dell'arte non rinascimentale, contro ogni analisi emotiva o parziale; per questo, è necessario "saper vedere" ogni opera nella sua individualità e nella tradizione in cui è inserita, e "saper scrivere" in modo da comunicare il senso del moto del pensiero nella ricerca.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="70f73ea0751c8356ad5dec39dfcf15e5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56664659,"asset_id":36723225,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56664659/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36723225"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36723225"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36723225; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36723225]").text(description); $(".js-view-count[data-work-id=36723225]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36723225; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36723225']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "70f73ea0751c8356ad5dec39dfcf15e5" } } $('.js-work-strip[data-work-id=36723225]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36723225,"title":"PIETRO TOESCA E L'ARTE VENETA. 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Scuola Galileiana di Studi Superiori, Classe di Scienze Morali, a. a. 2015-16.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f418c01e19478d3b6a5fa9ac192ccf26" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61646805,"asset_id":41474067,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61646805/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41474067"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41474067"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41474067; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41474067]").text(description); $(".js-view-count[data-work-id=41474067]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41474067; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41474067']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f418c01e19478d3b6a5fa9ac192ccf26" } } $('.js-work-strip[data-work-id=41474067]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41474067,"title":"ARTE E POESIA IN BAUDELAIRE","internal_url":"https://www.academia.edu/41474067/ARTE_E_POESIA_IN_BAUDELAIRE","owner_id":82042183,"coauthors_can_edit":true,"owner":{"id":82042183,"first_name":"Alessandro","middle_initials":null,"last_name":"Biella","page_name":"AlessandroBiella","domain_name":"unicatt","created_at":"2018-05-23T01:27:36.356-07:00","display_name":"Alessandro Biella","url":"https://unicatt.academia.edu/AlessandroBiella"},"attachments":[{"id":61646805,"title":"","file_type":"docx","scribd_thumbnail_url":"https://attachments.academia-assets.com/61646805/thumbnails/1.jpg","file_name":"ARTE_E_POESIA_IN_BAUDELAIRE20191231-75282-e9g1t1.docx","download_url":"https://www.academia.edu/attachments/61646805/download_file","bulk_download_file_name":"ARTE_E_POESIA_IN_BAUDELAIRE.docx","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/61646805/ARTE_E_POESIA_IN_BAUDELAIRE20191231-75282-e9g1t1.docx?1738392116=\u0026response-content-disposition=attachment%3B+filename%3DARTE_E_POESIA_IN_BAUDELAIRE.docx\u0026Expires=1741065354\u0026Signature=Sm6poKBkWHxaTxZ-NAU2RENYYsAtgkTFiOxr9XygKkKQVWfBcBmv2~kqkJihpcn9N~PS2vRRo5YyzIHg39kslie3sHkiOlyzIcYLu6co1uXUjsPX5DKX4EJt3g3l-iCR1DXVx7wlg2M0uBWN9rc4TEoIpB2LBRIEDInrroEfDw8HHXWaGDz4FEUyM3bHmzWQ9P9yLrBbUOAKkIlSLF5MljyD6ZmxsTam2N8-JZ9RPtBS6lLh4fkuBRhJUhM-q6NrVniNn7RuN36Ss9jZpWXy3fPR0FOnZU4ndSpn7mjU-vZ6kHu3sLFGvbM5Roe4N3~7PhOK3Bo9p8K5NWb0AhwPDw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37773492"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37773492/LA_CATASTROFE_DELLA_PITTURA_Francis_Bacon_Logica_della_sensazione_"><img alt="Research paper thumbnail of LA CATASTROFE DELLA PITTURA. Francis Bacon. "Logica della sensazione"" class="work-thumbnail" src="https://attachments.academia-assets.com/57769264/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37773492/LA_CATASTROFE_DELLA_PITTURA_Francis_Bacon_Logica_della_sensazione_">LA CATASTROFE DELLA PITTURA. Francis Bacon. "Logica della sensazione"</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">L'arte di Francis Bacon riletta da Gilles Deleuze, innovando lo statuto sensibile del vedere e fo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">L'arte di Francis Bacon riletta da Gilles Deleuze, innovando lo statuto sensibile del vedere e fondendo filosofia e critica d'arte. L'arte viene così riletta pressoché all'infinito secondo il metodo deleuziano, illuminandola di una logica che diventa una vera e propria nuova estetica.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="32480f23835870389997230e6c820bad" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57769264,"asset_id":37773492,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57769264/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37773492"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37773492"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37773492; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37773492]").text(description); $(".js-view-count[data-work-id=37773492]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37773492; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37773492']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "32480f23835870389997230e6c820bad" } } $('.js-work-strip[data-work-id=37773492]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37773492,"title":"LA CATASTROFE DELLA PITTURA. 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I "Trionfi di Cesare" dalla gloria di Roma alla gloria di Mantova</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Indagine sulle fonti letterarie, classiche e umanistiche, del ciclo dei "Trionfi" dipinto da Andr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Indagine sulle fonti letterarie, classiche e umanistiche, del ciclo dei "Trionfi" dipinto da Andrea Mantegna e di come esso si inserisca nel contesto della corte mantovana dei Gonzaga.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="340ea64197cd645959f1f6a31064f8d0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57769265,"asset_id":37773491,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57769265/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37773491"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37773491"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37773491; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37773491]").text(description); $(".js-view-count[data-work-id=37773491]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37773491; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37773491']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "340ea64197cd645959f1f6a31064f8d0" } } $('.js-work-strip[data-work-id=37773491]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37773491,"title":"EVOCARE UN TRIONFO. 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Audio disponibile nell'apposita sezione.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1cf9f015737e91bde35a8c21d4bd3c77" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":81891246,"asset_id":73329286,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/81891246/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="73329286"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="73329286"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 73329286; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41473820"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41473820/Presentazione_Treviso_21_05_2019"><img alt="Research paper thumbnail of Presentazione Treviso 21/05/2019" class="work-thumbnail" src="https://attachments.academia-assets.com/61646572/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41473820/Presentazione_Treviso_21_05_2019">Presentazione Treviso 21/05/2019</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Presentazione dell'intervento tenuto come relatore alla conferenza "Lorenzo Lotto, Tintoretto: tr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Presentazione dell'intervento tenuto come relatore alla conferenza "Lorenzo Lotto, Tintoretto: tracce e percorsi dall'archivio di Luigi Coletti" presso gli Spazi Bomben. 21 maggio 2019. Ultimo incontro dell'annuale ciclo dedicato alla valorizzazione del patrimonio librario e documentario<br />della Fondazione Benetton Studi Ricerche. Vengono presentate, anche grazie alla disponibilità dell'archivio Luigi Coletti, conservato dalla Fondazione Benetton, due nuove ricerche portano nuova luce su Lorenzo Lotto e Jacopo Tintoretto, artisti amati e lungamente indagati dallo storico dell'arte. Ricerca su Tintoretto a cura del dott. Marsel Grosso (Università di Padova). A cura di: Dott.ssa Francesca Ghersetti, dott. 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Università di Padova, dicembre 2016.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4045f341a7390245ec8fb98d5aec94cc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61646692,"asset_id":41473973,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61646692/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41473973"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41473973"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41473973; 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Allegato...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Prima parte della presentazione d'esame per il corso di Storia dell'arte, a. a. 2015-16. Allegato a "Tintoretto per le Scuole del Sacramento"</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e84fe0a3c5fbaf4d8be63d2161a476ed" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57779285,"asset_id":37782537,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57779285/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37782537"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37782537"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37782537; 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Allegato...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Prima parte della presentazione d'esame per il corso di Storia dell'arte, a. a. 2015-16. Allegato a "Tintoretto per le Scuole del Sacramento"</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="611061814c45fdc09d6c9f044a8564a1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57779242,"asset_id":37782498,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57779242/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37782498"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37782498"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37782498; 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Allegato...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Terza parte della presentazione d'esame per il corso di Storia dell'arte, a. a. 2014-15. Allegato a "Cappella Sistina. 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Allega...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Seconda parte della presentazione d'esame per il corso di Storia dell'arte, a. a. 2014-15. Allegato a "Cappella Sistina. Corrispondenze"</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c8cd67a7521760728e1c4862562d9cf1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57779104,"asset_id":37782347,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57779104/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37782347"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37782347"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37782347; 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Thannhauser (New York, S...</span><a class="js-work-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Conferenza sulla collezione d'arte contemporanea di Heinrich e Justin K. Thannhauser (New York, Solomon R. Guggenheim Museum) in occasione della mostra tenuta a Milano, Palazzo Reale: uno spaccato sulla storia e gli artisti di una collezione cruciale per lo sviluppo dell'arte contemporanea dai primi anni del '900 agli anni '60. Le diapositive mostrate durante la conferenza sono disponibili nella sezione apposita. <br /> <br />[EN VERSION] A conference about the Thannhauser Collection: a breakdown of its history and its artists, as a contribution to the background of contemporary art taste from the beginning of 20th Century to the 1960s. Slideshows avalaible in the specific section of this profile.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-video-id="1dK2ej"><a class="js-profile-work-strip-edit-button" href="https://unicatt.academia.edu/video/edit/1dK2ej" rel="nofollow" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-video-id="1dK2ej">4 views</span></span></span></div></div></div></div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="8342995" id="papers"><div class="js-work-strip profile--work_container" data-work-id="73327518"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/73327518/Veneti_a_palazzo_anatomia_di_due_dipinti_della_collezione_vescovile"><img alt="Research paper thumbnail of Veneti a palazzo: anatomia di due dipinti della collezione vescovile" class="work-thumbnail" src="https://attachments.academia-assets.com/81890516/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/73327518/Veneti_a_palazzo_anatomia_di_due_dipinti_della_collezione_vescovile">Veneti a palazzo: anatomia di due dipinti della collezione vescovile</a></div><div class="wp-workCard_item"><span>Insula Fulcheria. Rassegna di studi e documentazioni di Crema e del cremasco a cura del Museo civico di Crema</span><span>, Dec 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Un lavoro di redazione di schede a conclusione di un laboratorio universitario è divenuto una pre...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Un lavoro di redazione di schede a conclusione di un laboratorio universitario è divenuto una preziosa occasione di studio su due dipinti custoditi nel palazzo vescovile di Crema: il “Mosè fa scaturire l'acqua dalla roccia” e il “Sacrificio di Noè”. Grazie al ritrovamento di un documento inedito nell’archivio diocesano, è stato possibile determinare come essi facessero parte del primo nucleo della collezione, destinato in perpetuo dal vescovo veronese Marcantonio Lombardi nella disponibilità dei successori. Tale scoperta è stata poi alla base di un tentativo di attribuzione. Smentita per entrambi la paternità di Martino Cignaroli ipotizzata “in partenza”, grazie alla recente pubblicazione del dott. Cesare Alpini si è identificata nel Mosè una variante del soggetto dipinto da Gregorio Lazzarini, maestro del Tiepolo; più complicato il ragionamento intorno al “Noè”, così classico e solenne, che però ci ha portati a ipotizzare una provenienza dalla cerchia di Francesco Ruschi.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8cef28ad588bcaba1e40375237d2054a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":81890516,"asset_id":73327518,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/81890516/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="73327518"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="73327518"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 73327518; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37781554"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37781554/LA_TEORIA_DEL_NEOBAROCCO_IN_GILLO_DORFLES_UNA_VALUTAZIONE_CRITICA"><img alt="Research paper thumbnail of LA TEORIA DEL NEOBAROCCO IN GILLO DORFLES: UNA VALUTAZIONE CRITICA" class="work-thumbnail" src="https://attachments.academia-assets.com/57778240/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37781554/LA_TEORIA_DEL_NEOBAROCCO_IN_GILLO_DORFLES_UNA_VALUTAZIONE_CRITICA">LA TEORIA DEL NEOBAROCCO IN GILLO DORFLES: UNA VALUTAZIONE CRITICA</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La notizia della scomparsa di Gillo Dorfles, dopo quasi novant’anni di carriera intellettuale cos...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La notizia della scomparsa di Gillo Dorfles, dopo quasi novant’anni di carriera intellettuale costellata di un numero molto elevato di opere letterarie, innumerevoli articoli e contributi di vario genere, e coronata da numerosi riconoscimenti, ha consegnato la sua opera in modo definitivo all’analisi e allo studio dei posteri. Un corpus, si è detto, particolarmente vasto, per estensione temporale e per argomenti, frutto della straordinaria varietà d’interessi dello studioso triestino. Sempre lo stesso articolo evidenziava come la poliedricità di Dorfles derivasse dalle sue conoscenze personali, acquisite sin dalla giovinezza trascorsa in quel crocevia tra l’Italia e l’Europa centrale che fu la Trieste austro-ungarica. Altri articoli lo hanno ricordato, di volta in volta, come professore di estetica in alcune importanti università; come critico d’arte che sdoganò il kitsch, che sfidò l’idealismo crociano ancora dominante e la concezione dell’arte come un organismo autonomo, insieme di valori universali decisi da una ristretta élite che determina il gusto, teorizzando che fosse invece la società, in tutte le sue diverse espressioni, a plasmarlo; infine come artista. Il tutto sempre guardando all’arte, e nello specifico alla sua critica, mai alla storia, per conservare sempre quell’approccio “aggressivo”, più vicino ai paesi di cultura tedesca che all’Italia, sempre aggiornato e attento alle trasformazioni dell’arte e della società, del costume e della moda, radicato nella passione e nella curiosità per il mondo e il presente dell’uomo , assunto costantemente come punto di partenza per nuove nozioni. Oltre a riconoscere l’importanza di Gillo Dorfles per la critica d’arte e la filosofia italiana, la sua morte consente però anche una rilettura a posteriori della sua figura, e i dovuti elogi tributatigli non devono oscurarne gli aspetti controversi. È infatti innegabile che l’enorme varietà dei suoi interessi non gli abbia consentito di studiarli in modo particolarmente approfondito, vanificando l’enorme potenziale di molte intuizioni; per questo, sebbene il pensiero dorflesiano sia facile da ricostruire nel suo sviluppo, esso è composto di più costruzioni razionali diverse, unite spesso solo dal comune pensiero dell’autore, e da parallelismi o giustapposizioni di opere, nomi e correnti in realtà profondamente distanti. Inoltre, se le origini triestine e la formazione medica possono aver contribuito ad un punto di vista fortemente all’avanguardia rispetto alla critica dominante, la mancata formazione come storico dell’arte e i mancati contatti con figure importanti lo hanno privato di nozioni fondamentali per la sua opera. Tale rilettura critica costituisce anche lo scopo del presente lavoro, che si concentrerà sul primo interesse di Dorfles, l’architettura, e in particolare sulla teoria del Barocco nell’architettura moderna, alla quale fu dedicato l’omonimo libro uscito nel 1951, opera prima dello studioso. Il volume anticipò infatti di più di trent’anni la prima teoria sul barocco nella società contemporanea elaborata da Omar Calabrese, e s’inseriva nel ricco e tormentato dibattito sull’architettura del secondo dopoguerra, in cerca di risposte soddisfacenti di fronte all’enorme distruzione di vite umane e di centri urbani causata dal conflitto, e di nuova linfa dopo il tramonto della generazione che aveva decretato il successo del Movimento Moderno e dell’International Style. Con il suo tipico approccio, Dorfles identifica tale risposta in un insieme di valori già propri dell’architettura barocca, che attraversando tutte le epoche sino al presente si sono progressivamente manifestati nell’opera di vari architetti, giungendo ad un’epoca matura per la loro ripresa.<br />Una ricostruzione senza dubbio affascinante, ma che non può non fare i conti con un’opera di poco anteriore, che costituisce il vero «convitato di pietra»  con cui "Barocco nell’architettura moderna" è chiamato a confrontarsi: "Verso un’architettura organica", pubblicata pochi mesi prima della fine della guerra dallo storico dell’arte Bruno Zevi. Lo accomuna con Dorfles il medesimo punto di partenza e il medesimo scopo, ma non la risposta, che nel suo caso è costituita dall’architettura di cui fu pioniere Frank Lloyd Wright, radicata nella cultura americana e concettualmente più avanzata rispetto alle coeve ricerche europee. Per questo, dopo aver esposto per sommi capi la teoria di Dorfles, potremmo metterla a confronto con la soluzione di Zevi, consentendoci una valutazione che possa restituircene un giusto quadro critico.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="be9b193362ff67d33aae431fbc9a0ff5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57778240,"asset_id":37781554,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57778240/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37781554"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37781554"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37781554; 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Lo sguardo di un conoscitore nella Venezia del '500" class="work-thumbnail" src="https://attachments.academia-assets.com/57774834/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37778589/ET_MAXIME_IN_LI_OCCH%C3%8E_Lo_sguardo_di_un_conoscitore_nella_Venezia_del_500">ET MAXIME IN LI OCCHÎ». Lo sguardo di un conoscitore nella Venezia del '500</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La figura del patrizio veneziano Marcantonio Michiel, nel panorama del Rinascimento veneziano del...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La figura del patrizio veneziano Marcantonio Michiel, nel panorama del Rinascimento veneziano della prima metà del Cinquecento, rappresenta una figura d'importanza centrale, poliedrica e variegata, non limitata alla sua fama precipua come fine conoscitore d'arte e autore della Notizia delle opere del disegno. A una vita priva di avvenimenti di nota, fanno da contraltare una fitta rete di relazioni con i principali protagonisti della cultura umanista di Venezia (e non solo), un fine gusto per il collezionismo, e un senso critico sviluppatosi in modo coerente dai primi interessi architettonici, a quelli per le antichità, passando per le osservazioni politiche e diplomatiche. Questa vitalità intellettuale è espressa negli scritti del patrizio, tra cui la Notizia, nostra fonte principale di conoscenza del collezionismo veneto dell'epoca, soprattutto per quanto riguarda la figura di Giorgione. 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Percorso nella pietà e nel mecenatismo del secondo Cinquecento a Venezia" class="work-thumbnail" src="https://attachments.academia-assets.com/57774729/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37778488/TINTORETTO_PER_LE_SCUOLE_DEL_SACRAMENTO_Percorso_nella_piet%C3%A0_e_nel_mecenatismo_del_secondo_Cinquecento_a_Venezia">TINTORETTO PER LE SCUOLE DEL SACRAMENTO. Percorso nella pietà e nel mecenatismo del secondo Cinquecento a Venezia</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Nel panorama dell’arte a Venezia, le cappelle del Sacramento rappresentano un capitolo vasto e im...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Nel panorama dell’arte a Venezia, le cappelle del Sacramento rappresentano un capitolo vasto e importante, espressione della devozione al Corpus Christi iniziata prima della Controriforma e incoraggiata da essa. Tra i molti cicli dipinti, quelli del Tintoretto, figura di grande complessità e spiritualità, emergono per la loro importanza. Analizzandone l’opera nelle diverse sfaccettature tematiche, si ricostruisce assai chiaramente l’evoluzione in senso realistico e mistico delle iconografie sacramentali sotto l’azione del Concilio di Trento, l’influenza delle grandi dispute teologiche e una nuova concezione dell’arte sacra.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fa23c81ea82a8e5562189fa3abd5c629" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57774729,"asset_id":37778488,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57774729/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37778488"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37778488"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37778488; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37778488]").text(description); $(".js-view-count[data-work-id=37778488]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37778488; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37778488']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fa23c81ea82a8e5562189fa3abd5c629" } } $('.js-work-strip[data-work-id=37778488]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37778488,"title":"TINTORETTO PER LE SCUOLE DEL SACRAMENTO. Percorso nella pietà e nel mecenatismo del secondo Cinquecento a Venezia","internal_url":"https://www.academia.edu/37778488/TINTORETTO_PER_LE_SCUOLE_DEL_SACRAMENTO_Percorso_nella_piet%C3%A0_e_nel_mecenatismo_del_secondo_Cinquecento_a_Venezia","owner_id":82042183,"coauthors_can_edit":true,"owner":{"id":82042183,"first_name":"Alessandro","middle_initials":null,"last_name":"Biella","page_name":"AlessandroBiella","domain_name":"unicatt","created_at":"2018-05-23T01:27:36.356-07:00","display_name":"Alessandro Biella","url":"https://unicatt.academia.edu/AlessandroBiella"},"attachments":[{"id":57774729,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/57774729/thumbnails/1.jpg","file_name":"Tintoretto_per_le_Scuole_del_Sacramento.pdf","download_url":"https://www.academia.edu/attachments/57774729/download_file","bulk_download_file_name":"TINTORETTO_PER_LE_SCUOLE_DEL_SACRAMENTO.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57774729/Tintoretto_per_le_Scuole_del_Sacramento-libre.pdf?1542283395=\u0026response-content-disposition=attachment%3B+filename%3DTINTORETTO_PER_LE_SCUOLE_DEL_SACRAMENTO.pdf\u0026Expires=1741123350\u0026Signature=Chuwx0Sr21LZVCxQOR3ZCePgaoSJ6lgqMrloUpbSSW3X~dxdd9-YdkzgXo0ES~5ojuK5-tW9YebOXifbYYGsiIFPJiAwquoVkgWLcnL9lAPv7oShud5hk8TERUN975~5VkzD5gD6Z21j0LfUKuufZR1kgNKE-IfRTEFMORu0tFiGgkJNejUCVsoBLFffyBFNAl466cGxI4Wo7yF~-GZgp4GhKqDVOEji0Ok3aT0qsif3Ho3~DNKGGXEEgWymN-3cDMJ~~zqc-cOqyivT2EqrY-rgYfxYd9-ApaXZQAhUjMUHwDh~g9JAJZvqaSKoFCiukqi5USY7d3es~eGrFDhFMg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37778128"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37778128/LE_PARETI_DELLA_SISTINA_CORRISPONDENZE_Cristo_e_il_suo_Vicario_il_Doctor_Gentium_e_il_Doctor_Populi_"><img alt="Research paper thumbnail of LE PARETI DELLA SISTINA. CORRISPONDENZE - Cristo e il suo Vicario, il "Doctor Gentium" e il "Doctor Populi"" class="work-thumbnail" src="https://attachments.academia-assets.com/57774369/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37778128/LE_PARETI_DELLA_SISTINA_CORRISPONDENZE_Cristo_e_il_suo_Vicario_il_Doctor_Gentium_e_il_Doctor_Populi_">LE PARETI DELLA SISTINA. CORRISPONDENZE - Cristo e il suo Vicario, il "Doctor Gentium" e il "Doctor Populi"</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La Cappella Sistina che oggi conosciamo soprattutto perché racchiude gli affreschi di Michelangel...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La Cappella Sistina che oggi conosciamo soprattutto perché racchiude gli affreschi di Michelangelo non si può facilmente paragonare ad altri edifici esistenti. Ogni sua componente decorativa va considerata come un elemento di un insieme che si è sviluppato con la struttura architettonica; e ciascun elemento deve es-sere inteso come il risultato di decisioni pratiche, rispondenti a particolari esigenze e funzionalità. Tale fun-zionalità richiedeva un ambiente adatto a una liturgia specifica, ma anche corrispondeva al concetto di Majestas papalis, una speciale forma di quell’espressione di magnanimità all’origine del più spettacolare edificio e della più spettacolare decorazione del Rinascimento. La Cappella Sistina fu costruita con uno scopo preciso e unico, e la perfezione della Cappella all’epoca di Sisto IV va ricostruita con sforzo d’immaginazione, perché seriamente compromessa dalle aggiunte dei pontefici successivi. Ma anche quando l’integrità orizzontale fu ripristinata, essa venne distrutta definitivamente prima dai disastrosi danni strutturali alla parete di fondo, che portarono alla sostituzione di due delle storie con altre in stile discordante, e poi dal Giudizio Universale che, pur nella sua sensibilità alla struttura che lo contiene, non può non far rimpiangere la perdita della continuità dei ritmi delle finestre e delle cornici, dell’incontro dei cicli storici sopra all’altare, della pala d’altare incorniciata in modo da riflettere il portale d’ingresso, e in conclusione della simmetria. Se si aggiunge come a causa di questo motivo venne anche meno per sempre l’originaria disposizione degli arazzi raffaelleschi (che inoltre saranno “esiliati” dalla Cappella, almeno nel loro essere esposti totalmente, fino al 1983), oggi si ha l’impressione che la Cappella Sistina somigli a un tunnel, con la decorazione originaria su due piatti registri sovrapposti, laddove un sistema decorativo chiuso era stato concepito in armonia con la costruzione, continuo e integrale, come forma e supporto della volta. Grazie ai significativi contributi di studiosi come l’Ettlinger, alla costituzione della iconologia come disciplina storica e ai restauri condotti negli anni ’60-’90 su di essi (con importanti scoperte, primi tra tutti i tituli so-prastanti), ora possiamo guardare il ciclo sistino sotto una nuova luce, nei suoi complessi significati voluti a fine Quattrocento. Ma lo scopo che tale esposizione si propone è giungere a una ricostruzione delle trame esistenti tra questi e il ciclo degli arazzi raffaelleschi che, lungi dall’essere una semplice risposta di Leone X al crescente ruolo istituzionale della Cappella, un’espressione del suo orgoglio di essere il fautore di una nuova età dell’oro (come fu salutato alla sua elezione da Francesco Novello, Egidio da Viterbo, Pietro Delfin e altri) o un richiamo alla tradizione medicea (le tappezzerie del padre Lorenzo) e carolingia (le serie commissionate dai suoi omonimi Leone III e IV), fornirono ulteriore supporto alla simbologia della Cappella, in particolar modo della Maiestas papalis, come già per il suo predecessore. Benché non più nella disposizione originale, la riesposizione del 1983 ha fatto riscoprire il loro fondamentale contributo allo splendore della Sistina, e il restauro dei cartoni di Raffaello, oggi al Victoria and Albert Museum di Londra (1964-65), ha permesso di leggere la loro iconologia in modo finalmente chiaro. Dopo aver affrontato il significato del ciclo sistino, passeremo dunque all’analisi di quello degli arazzi in modo da ricostruire al meglio il sottile gioco di corrispondenze originarie, perfettamente compiuto nello spazio della Cappella.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f7a7f8f897f4728964a1c8494b98d175" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57774369,"asset_id":37778128,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57774369/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37778128"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37778128"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37778128; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37778128]").text(description); $(".js-view-count[data-work-id=37778128]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37778128; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37778128']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f7a7f8f897f4728964a1c8494b98d175" } } $('.js-work-strip[data-work-id=37778128]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37778128,"title":"LE PARETI DELLA SISTINA. CORRISPONDENZE - Cristo e il suo Vicario, il \"Doctor Gentium\" e il \"Doctor Populi\"","internal_url":"https://www.academia.edu/37778128/LE_PARETI_DELLA_SISTINA_CORRISPONDENZE_Cristo_e_il_suo_Vicario_il_Doctor_Gentium_e_il_Doctor_Populi_","owner_id":82042183,"coauthors_can_edit":true,"owner":{"id":82042183,"first_name":"Alessandro","middle_initials":null,"last_name":"Biella","page_name":"AlessandroBiella","domain_name":"unicatt","created_at":"2018-05-23T01:27:36.356-07:00","display_name":"Alessandro Biella","url":"https://unicatt.academia.edu/AlessandroBiella"},"attachments":[{"id":57774369,"title":"","file_type":"docx","scribd_thumbnail_url":"https://attachments.academia-assets.com/57774369/thumbnails/1.jpg","file_name":"LE_PARETI_DELLA_SISTINA._CORRISPONDENZE.docx","download_url":"https://www.academia.edu/attachments/57774369/download_file","bulk_download_file_name":"LE_PARETI_DELLA_SISTINA_CORRISPONDENZE_C.docx","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57774369/LE_PARETI_DELLA_SISTINA._CORRISPONDENZE.docx?1738378788=\u0026response-content-disposition=attachment%3B+filename%3DLE_PARETI_DELLA_SISTINA_CORRISPONDENZE_C.docx\u0026Expires=1739239867\u0026Signature=Sdg3A9m1V2MJAi9ELUSZWGNViVjunVEvaNt9sUxGIRg~Cq2NCd5OD1dTXr2k0yPSlIAkoQDfmvAGQ3CnUrjA6PBC6iBoCYlXxMJSQbO7WMNmTWpK2gZUwlWKRXciXjZ2Geub3FGdFd11eQ1GgBx8sSIlHX1RzCIdT4IRdeDz-rfzBj3y3fxAKxuAURB16g0LyFNx148IxAS2RE61iFh1EFSuyJMjyB0hNFVT1u-QjBIA7xP9SXPZe12rA523MgQyyqW12y201LfE4HBoykd3lxRSxyA~FVZtjLkQt8xInCg1uHGhG40ueW~v38ef8NQefq-IsfHJeG7LPukTnrK-BA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37778053"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37778053/_Delle_Belle_Arti_giusto_estimatore_Giacomo_Carrara_1714_1796_e_la_fondazione_dellAccademia_darte_di_Bergamo"><img alt="Research paper thumbnail of «Delle Belle Arti giusto estimatore»: Giacomo Carrara (1714-1796) e la fondazione dell'Accademia d'arte di Bergamo" class="work-thumbnail" src="https://attachments.academia-assets.com/57774286/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37778053/_Delle_Belle_Arti_giusto_estimatore_Giacomo_Carrara_1714_1796_e_la_fondazione_dellAccademia_darte_di_Bergamo">«Delle Belle Arti giusto estimatore»: Giacomo Carrara (1714-1796) e la fondazione dell'Accademia d'arte di Bergamo</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La figura di Giacomo Carrara è di capitale interesse per la storiografia artistica del Settecento...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La figura di Giacomo Carrara è di capitale interesse per la storiografia artistica del Settecento: un indagatore del patrimonio pittorico locale e delle sue fonti, dotato di un acuto rigore filologico e critico e che conseguì uno stupefacente successo collezionistico. Da ciò ebbe inizio la storia del luogo destinato a divenire memoria del collezionismo privato della città, “albo d’oro” della sua coscienza civica e fulcro di innovazioni di portata non solo locale.<br />Per meglio comprendere la rilevanza del nobile bergamasco, occorre risalire alla sua giovinezza, e agli eventi chiave per la sua formazione. Innanzitutto la famiglia, trasferitasi a Bergamo dal contado e ascesa alla piccola nobiltà cittadina grazie alla mercatura e a una gestione sempre oculata del proprio patrimonio; quindi le difficoltà nel realizzare le proprie ambizioni di viaggiare e acquistare opere d’arte, che poterono realizzarsi solo dopo la scomparsa del padre che si opponeva a tali iniziative. Ma viene anche documentato il progressivo contatto con l’ambiente culturale cittadino, che consentì a Giacomo Carrara di entrare in relazione con figure di spicco (Tassi, il Galgario, Nazari, Brembati, Serassi) e di costruire un’efficace rete di relazioni ancora oggi documentata dalle lettere conservate. Sono poi analizzati i problemi della consistenza della raccolta artistica del padre, dell’eredità, dei primi acquisti, e lo snodo cruciale del viaggio a Roma, dove Giacomo ebbe modo di dimostrare tutta la propria competenza di conoscitore e di stringere importanti amicizie (Bottari, Piranesi). Al termine di questo periodo di formazione, la collezione era orientata verso il classicismo romano-emiliano, in antitesi al Barocco e alla pittura “di genere”.<br />Si passa quindi all’esame del processo di formazione della raccolta d’arte, maturato nella convinzione che solo la divulgazione del sapere e l’educazione dei giovani avrebbero potuto sviluppare la coscienza civica necessaria a salvaguardare il patrimonio artistico di Bergamo dal degrado e dal nascente mercato, per costruire un futuro glorioso. Un progetto motivato dalla nuova istanza di far conoscere la storia e il progresso dell’arte in ogni scuola, soprattutto di quella veneta/bergamasca, e spinto dall’amore universale per la “bella pittura” tipico dell’ambiente collezionistico cittadino, con un approccio sempre meno erudito e sempre più “illuministico”. L’acquisto di opere dalle collezioni cittadine preesistenti consente di evidenziare al meglio l’unicità delle operazioni di Giacomo Carrara nell’ambiente bergamasco e lombardo: una collezione non fossilizzata ed esclusivamente privata ma illustrativa, didattica e aperta a un pubblico fruitore; gli acquisti “mirati”, ottenuti attraverso i contatti con religiosi, pittori, restauratori, antiquari, eruditi, altri collezionisti, evidenziano invece gli stretti rapporti con l’ambiente veneziano e l’importanza raggiunta da Carrara come consulente e venditore. Il tutto non è comunque esente da problemi critici, dovuti in primo luogo alla lunga gestazione della Galleria e della Scuola di pittura per giovani poveri, che si estende per più di quarant’anni dai primi progetti ideali ad un’istituzione finale fortemente controllata da una Commissarìa. A complicare il quadro intervengono poi le ricostruzioni dell’aspetto originario dell’edificio (ampliato pochi anni dopo) e dell’allestimento, ancora ancorato al Settecento nonostante le nuove istanze illuministiche e i progetti elaborati in quegli anni; infine, le oggettive difficoltà della neonata istituzione nei difficili anni della dominazione napoleonica, culminate nella dispersione all’asta di gran parte del patrimonio quando la collezione non corrispose più alle mutate esigenze museografiche.<br />Tutto questo fu però possibile solo grazie ad una riconosciuta autorità in campo storico-artistico, conseguita grazie alle numerose iniziative editoriali alle quali partecipò, pur pubblicando pochissimo dei propri scritti. La tesi ne analizza, in particolare, tre: le Lettere pittoriche di Giovanni Bottari, riferimento imprescindibile per i nascenti studi artistici e occasione di dialogo con una figura eminente dell’ambiente erudito romano. La guida artistica di Bergamo scritta dal comico bolognese Francesco Bartoli, la prima sulla città orobica; e l’impresa che raccolse il frutto delle ricerche del conte e di tutti i conoscitori bergamaschi sulla pittura locale, quelle Vite di Francesco Maria Tassi iniziate con entusiasmo e portate a termine, cinquant’anni dopo, a fatica e in un contesto ormai cambiato, ma che determinarono un proficuo scambio tra Bergamo e Venezia.<br />Giacomo Carrara appare dunque come il polo d’orientamento della cultura storico-artistica di Bergamo. Una figura sospesa tra passione collezionistica e illuminismo; tra il Settecento degli studi dell’élite di provincia e l’Ottocento, il secolo della nuova coscienza artistica di personaggi come Luigi Lanzi, del mercato e dell’accentramento degli interessi artistici nelle grandi città. Una figura, in conclusione, che per i suoi successi nonostante le difficoltà divenne presto un mito cittadino, che solo recentemente si è iniziata a studiare in tutta la sua valenza storica, critica e problematica, ma che potrebbe riservare ancora molte sorprese.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ec6c27ed012bd3e488e3f66ca0389829" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57774286,"asset_id":37778053,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57774286/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37778053"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37778053"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37778053; 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Riflessioni sul metodo a partire da "Un capolavoro dell’oreficeria veneziana della fine del Dugento"." class="work-thumbnail" src="https://attachments.academia-assets.com/56664659/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36723225/PIETRO_TOESCA_E_LARTE_VENETA_Riflessioni_sul_metodo_a_partire_da_Un_capolavoro_dell_oreficeria_veneziana_della_fine_del_Dugento_">PIETRO TOESCA E L'ARTE VENETA. Riflessioni sul metodo a partire da "Un capolavoro dell’oreficeria veneziana della fine del Dugento".</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Breve relazione dove si tenta di tracciare un profilo del pensiero di Pietro Toesca sull'arte ven...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Breve relazione dove si tenta di tracciare un profilo del pensiero di Pietro Toesca sull'arte veneta. Coerentemente ai propri interessi per l'arte del medioevo, lo studioso non si occupò mai del periodo più fiorente dell'arte lagunare, preferendo articoli concisi, ma dalla prosa assai sorvegliata, su singole opere, come il dittico devozionale eseguito dal 1290 al 1296 a Venezia per Andrea III d’Ungheria e conservato a Berna. <br />Più che condurre un'analisi materiale e tracciarne la storia, l'articolo si propone di dimostrare la provenienza veneta del manufatto attraverso due linee di ragionamento sovrapposte: il confronto con oggetti analoghi e il vaglio delle fonti. Dall'articolo emerge la priorità data da Toesca ai problemi letterari come fondamento di quelli storico-artistici e ad una trattazione comprensiva, necessaria per la piena riabilitazione dell'arte non rinascimentale, contro ogni analisi emotiva o parziale; per questo, è necessario "saper vedere" ogni opera nella sua individualità e nella tradizione in cui è inserita, e "saper scrivere" in modo da comunicare il senso del moto del pensiero nella ricerca.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="70f73ea0751c8356ad5dec39dfcf15e5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56664659,"asset_id":36723225,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56664659/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36723225"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36723225"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36723225; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36723225]").text(description); $(".js-view-count[data-work-id=36723225]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36723225; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36723225']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "70f73ea0751c8356ad5dec39dfcf15e5" } } $('.js-work-strip[data-work-id=36723225]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36723225,"title":"PIETRO TOESCA E L'ARTE VENETA. 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Antonio Prete). ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Esposizione d'esame del corso di letteratura italiana su Giacomo Leopardi (prof. Antonio Prete). Scuola Galileiana di Studi Superiori, Classe di Scienze Morali, a. a. 2015-16.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f418c01e19478d3b6a5fa9ac192ccf26" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61646805,"asset_id":41474067,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61646805/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41474067"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41474067"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41474067; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41474067]").text(description); $(".js-view-count[data-work-id=41474067]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41474067; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41474067']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f418c01e19478d3b6a5fa9ac192ccf26" } } $('.js-work-strip[data-work-id=41474067]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41474067,"title":"ARTE E POESIA IN BAUDELAIRE","internal_url":"https://www.academia.edu/41474067/ARTE_E_POESIA_IN_BAUDELAIRE","owner_id":82042183,"coauthors_can_edit":true,"owner":{"id":82042183,"first_name":"Alessandro","middle_initials":null,"last_name":"Biella","page_name":"AlessandroBiella","domain_name":"unicatt","created_at":"2018-05-23T01:27:36.356-07:00","display_name":"Alessandro Biella","url":"https://unicatt.academia.edu/AlessandroBiella"},"attachments":[{"id":61646805,"title":"","file_type":"docx","scribd_thumbnail_url":"https://attachments.academia-assets.com/61646805/thumbnails/1.jpg","file_name":"ARTE_E_POESIA_IN_BAUDELAIRE20191231-75282-e9g1t1.docx","download_url":"https://www.academia.edu/attachments/61646805/download_file","bulk_download_file_name":"ARTE_E_POESIA_IN_BAUDELAIRE.docx","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/61646805/ARTE_E_POESIA_IN_BAUDELAIRE20191231-75282-e9g1t1.docx?1738392116=\u0026response-content-disposition=attachment%3B+filename%3DARTE_E_POESIA_IN_BAUDELAIRE.docx\u0026Expires=1741065354\u0026Signature=Sm6poKBkWHxaTxZ-NAU2RENYYsAtgkTFiOxr9XygKkKQVWfBcBmv2~kqkJihpcn9N~PS2vRRo5YyzIHg39kslie3sHkiOlyzIcYLu6co1uXUjsPX5DKX4EJt3g3l-iCR1DXVx7wlg2M0uBWN9rc4TEoIpB2LBRIEDInrroEfDw8HHXWaGDz4FEUyM3bHmzWQ9P9yLrBbUOAKkIlSLF5MljyD6ZmxsTam2N8-JZ9RPtBS6lLh4fkuBRhJUhM-q6NrVniNn7RuN36Ss9jZpWXy3fPR0FOnZU4ndSpn7mjU-vZ6kHu3sLFGvbM5Roe4N3~7PhOK3Bo9p8K5NWb0AhwPDw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37773492"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37773492/LA_CATASTROFE_DELLA_PITTURA_Francis_Bacon_Logica_della_sensazione_"><img alt="Research paper thumbnail of LA CATASTROFE DELLA PITTURA. Francis Bacon. "Logica della sensazione"" class="work-thumbnail" src="https://attachments.academia-assets.com/57769264/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37773492/LA_CATASTROFE_DELLA_PITTURA_Francis_Bacon_Logica_della_sensazione_">LA CATASTROFE DELLA PITTURA. Francis Bacon. "Logica della sensazione"</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">L'arte di Francis Bacon riletta da Gilles Deleuze, innovando lo statuto sensibile del vedere e fo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">L'arte di Francis Bacon riletta da Gilles Deleuze, innovando lo statuto sensibile del vedere e fondendo filosofia e critica d'arte. L'arte viene così riletta pressoché all'infinito secondo il metodo deleuziano, illuminandola di una logica che diventa una vera e propria nuova estetica.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="32480f23835870389997230e6c820bad" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57769264,"asset_id":37773492,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57769264/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37773492"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37773492"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37773492; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37773492]").text(description); $(".js-view-count[data-work-id=37773492]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37773492; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37773492']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "32480f23835870389997230e6c820bad" } } $('.js-work-strip[data-work-id=37773492]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37773492,"title":"LA CATASTROFE DELLA PITTURA. 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I "Trionfi di Cesare" dalla gloria di Roma alla gloria di Mantova</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Indagine sulle fonti letterarie, classiche e umanistiche, del ciclo dei "Trionfi" dipinto da Andr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Indagine sulle fonti letterarie, classiche e umanistiche, del ciclo dei "Trionfi" dipinto da Andrea Mantegna e di come esso si inserisca nel contesto della corte mantovana dei Gonzaga.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="340ea64197cd645959f1f6a31064f8d0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57769265,"asset_id":37773491,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57769265/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37773491"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37773491"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37773491; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37773491]").text(description); $(".js-view-count[data-work-id=37773491]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37773491; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37773491']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "340ea64197cd645959f1f6a31064f8d0" } } $('.js-work-strip[data-work-id=37773491]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37773491,"title":"EVOCARE UN TRIONFO. 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Audio disponibile nell'apposita sezione.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1cf9f015737e91bde35a8c21d4bd3c77" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":81891246,"asset_id":73329286,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/81891246/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="73329286"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="73329286"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 73329286; 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Ultimo incontro dell'annuale ciclo dedicato alla valorizzazione del patrimonio librario e documentario<br />della Fondazione Benetton Studi Ricerche. Vengono presentate, anche grazie alla disponibilità dell'archivio Luigi Coletti, conservato dalla Fondazione Benetton, due nuove ricerche portano nuova luce su Lorenzo Lotto e Jacopo Tintoretto, artisti amati e lungamente indagati dallo storico dell'arte. Ricerca su Tintoretto a cura del dott. Marsel Grosso (Università di Padova). A cura di: Dott.ssa Francesca Ghersetti, dott. 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A cura della Biblioteca comunale di Villa di Serio.<br />Storia della formazione della collezione di Heinrich e Justin Kurt Thannhauser, della loro attività di galleristi e mercanti d'arte e del loro rapporto con alcuni importanti artisti del '900; include una selezione delle opere presentate nella mostra.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a3b870a51a6de5deb21bc7c1113a539f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61646356,"asset_id":41473668,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61646356/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41473668"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41473668"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41473668; 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Università di Padova, dicembre 2016.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4045f341a7390245ec8fb98d5aec94cc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61646692,"asset_id":41473973,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61646692/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41473973"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41473973"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41473973; 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Allegato...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Prima parte della presentazione d'esame per il corso di Storia dell'arte, a. a. 2015-16. Allegato a "Tintoretto per le Scuole del Sacramento"</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e84fe0a3c5fbaf4d8be63d2161a476ed" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57779285,"asset_id":37782537,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57779285/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37782537"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37782537"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37782537; 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Allegato...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Prima parte della presentazione d'esame per il corso di Storia dell'arte, a. a. 2015-16. Allegato a "Tintoretto per le Scuole del Sacramento"</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="611061814c45fdc09d6c9f044a8564a1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57779242,"asset_id":37782498,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57779242/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37782498"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37782498"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37782498; 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Allega...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Seconda parte della presentazione d'esame per il corso di Storia dell'arte, a. a. 2014-15. Allegato a "Cappella Sistina. 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Da eroe dell'Indipendenza ad artigiano intraprendente</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Profilo della vita e delle attività di Paul Revere: apprendista artigiano; dentista; eroe della g...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Profilo della vita e delle attività di Paul Revere: apprendista artigiano; dentista; eroe della guerra di Indipendenza; incisore, litografo, stampatore e illustratore per la causa americana; orafo e argentiere tra i più fini della storia delle arti applicate in America; manager "ante litteram" ed imprenditore di successo nel campo del ferro, del bronzo e del rame, promotore di nuove tecniche di lavorazione e di un nuovo modello lavorativo.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c61ff4f19ed0492b52e4e5d1bd8a009f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57767944,"asset_id":37772197,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57767944/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37772197"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37772197"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37772197; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37772197]").text(description); $(".js-view-count[data-work-id=37772197]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37772197; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37772197']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c61ff4f19ed0492b52e4e5d1bd8a009f" } } $('.js-work-strip[data-work-id=37772197]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37772197,"title":"Paul Revere, Jr. (1734-1818). 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="8715415" id="drafts"><div class="js-work-strip profile--work_container" data-work-id="73331425"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/73331425/Immagini_articolo_La_cappella_del_Rosario_"><img alt="Research paper thumbnail of Immagini articolo "La cappella del Rosario"" class="work-thumbnail" src="https://attachments.academia-assets.com/81892502/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/73331425/Immagini_articolo_La_cappella_del_Rosario_">Immagini articolo "La cappella del Rosario"</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Immagini allegate all'articolo "LA CAPPELLA DEL ROSARIO DI ALZANO LOMBARDO: TRA ARTE, DEVOZIONE E...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Immagini allegate all'articolo "LA CAPPELLA DEL ROSARIO DI ALZANO LOMBARDO: TRA ARTE, DEVOZIONE E COLLABORAZIONE ARTISTICA".<br />[EN] Images attached to the above mentioned article.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fd71d39f6d354d8bc0ccd5344e33f6a3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":81892502,"asset_id":73331425,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/81892502/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="73331425"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="73331425"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 73331425; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=73331425]").text(description); $(".js-view-count[data-work-id=73331425]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 73331425; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='73331425']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fd71d39f6d354d8bc0ccd5344e33f6a3" } } $('.js-work-strip[data-work-id=73331425]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":73331425,"title":"Immagini articolo \"La cappella del Rosario\"","internal_url":"https://www.academia.edu/73331425/Immagini_articolo_La_cappella_del_Rosario_","owner_id":82042183,"coauthors_can_edit":true,"owner":{"id":82042183,"first_name":"Alessandro","middle_initials":null,"last_name":"Biella","page_name":"AlessandroBiella","domain_name":"unicatt","created_at":"2018-05-23T01:27:36.356-07:00","display_name":"Alessandro Biella","url":"https://unicatt.academia.edu/AlessandroBiella"},"attachments":[{"id":81892502,"title":"","file_type":"docx","scribd_thumbnail_url":"https://attachments.academia-assets.com/81892502/thumbnails/1.jpg","file_name":"Immagini_articolo_Arte_Lombarda.docx","download_url":"https://www.academia.edu/attachments/81892502/download_file","bulk_download_file_name":"Immagini_articolo_La_cappella_del_Rosari.docx","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/81892502/Immagini_articolo_Arte_Lombarda.docx?1738481530=\u0026response-content-disposition=attachment%3B+filename%3DImmagini_articolo_La_cappella_del_Rosari.docx\u0026Expires=1741065354\u0026Signature=R9xzBX5P83jGfjQKvl4de9OkCIP~9JC7djg~Klnu~bz5JdsEqoNTeoDPVoRam0n84wNE0ik-Og~YbhYcLB68T-wB4qrcsi5iU4aeAYZimWMc1CJScC1b-Nk~WIymz-RxJCwcbW2Bw38JzKebLQhaoD2-~EZ9ntPGTPPo2zsVgLifWEc4vgr7z~rcR64STSIZPwJGMGb~4GgNIv35lyvCFljWjoGdr~SNGs-BvL922zyd3bGDneBTIYP4aTHeGTNie69t8LpwPQiieqdb93yvdWr6CG8F-tdxibe~ci09sWcbRklfRJUZCwMWaWNkVqUp5F8NrTMDjJMYLkCIDbtd-w__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="73331424"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/73331424/LA_CAPPELLA_DEL_ROSARIO_DI_ALZANO_LOMBARDO_TRA_ARTE_DEVOZIONE_E_COLLABORAZIONE_ARTISTICA"><img alt="Research paper thumbnail of LA CAPPELLA DEL ROSARIO DI ALZANO LOMBARDO: TRA ARTE, DEVOZIONE E COLLABORAZIONE ARTISTICA" class="work-thumbnail" src="https://attachments.academia-assets.com/81892501/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/73331424/LA_CAPPELLA_DEL_ROSARIO_DI_ALZANO_LOMBARDO_TRA_ARTE_DEVOZIONE_E_COLLABORAZIONE_ARTISTICA">LA CAPPELLA DEL ROSARIO DI ALZANO LOMBARDO: TRA ARTE, DEVOZIONE E COLLABORAZIONE ARTISTICA</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La Cappella del Rosario di Alzano Lombardo, con la sua ricca decorazione, costituisce un elemento...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La Cappella del Rosario di Alzano Lombardo, con la sua ricca decorazione, costituisce un elemento fondamentale del complesso della Basilica di San Martino, ma poco studiato in alcune delle sue vicende storico-artistiche. Lo scopo di tale ricerca è stato determinarne le fonti architettoniche e i decoratori, riassumere le conclusioni raggiunte e, tramite la verifica incrociata della bibliografia e dei documenti custoditi in altri archivi, formulare alcune nuove ipotesi. Si proporrà una possibile ricostruzione delle fonti architettoniche e dei precedenti della Cappella di Alzano, guardando al suo architetto Gerolamo Quadrio e al territorio milanese. Per ricostruire le origini della commissione per le decorazioni interne, si dovrà invece rivolgere lo sguardo al fecondo contesto delle botteghe artistiche operanti a Bergamo, ed entro tale quadro se ne preciserà meglio la collocazione temporale e i precedenti artistici.<br /><br />[EN] The Chapel of the Rosary of Alzano Lombardo, with its rich decoration, constitutes a fundamental element of the complex of the Basilica of San Martino, but it has been only partially studied in some of its historical and artistic aspects. The purpose of this research is to determine the architectural sources and the decorators, summarize the conclusions reached and, by cross-checking the bibliography and documents held in other archives, formulate some new hypotheses. A possible reconstruction of the architectural sources and the precedents of the Alzano Chapel will be proposed, looking at its architect Gerolamo Quadrio and Milanese territory. To reconstruct the origins of the commission for the internal decorations, we must instead turn our attention to the fruitful context of the artistic workshops operating in Bergamo, and within this framework the timeframe and artistic precedents will be better specified.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="262bb74b506bb6df97335ff5f95137b8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":81892501,"asset_id":73331424,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/81892501/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="73331424"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="73331424"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 73331424; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41473726"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41473726/ESPOSIZIONE_TREVISO_21_maggio_2019"><img alt="Research paper thumbnail of ESPOSIZIONE TREVISO - 21 maggio 2019" class="work-thumbnail" src="https://attachments.academia-assets.com/61646420/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41473726/ESPOSIZIONE_TREVISO_21_maggio_2019">ESPOSIZIONE TREVISO - 21 maggio 2019</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Traccia dell'intervento "«Sfogliare le rose»: Luigi Coletti (1886-1961) e Lorenzo Lotto. Un’indag...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Traccia dell'intervento "«Sfogliare le rose»: Luigi Coletti (1886-1961) e Lorenzo Lotto. Un’indagine d’archivio", tenuto all'interno della conferenza "Lorenzo Lotto, Tintoretto: tracce e percorsi dall'archivio di Luigi Coletti" presso la Fondazione Benetton Studi Ricerche di Treviso, 21 maggio 2019.<br /><br />Nella prima parte di questo incontro, sarà sviscerato, attraverso l’analisi degli scritti e di documenti inediti conservati presso la Fondazione, il rapporto intrattenuto da Luigi Coletti, per quattro decenni, con la figura di Lorenzo Lotto. Pur con modalità diverse e qualche cambiamento di approccio nel tempo, è un dialogo più profondo del solito, intimo e affettuoso, che porta il lettore ad affezionarsi all’artista, nelle parole di Guido Perocco, «come da uomo a uomo». Un rapporto fatto anche di errori e incomprensioni; indebolitosi dal punto di vista critico con il passare del tempo, ma che diede un contributo rilevante alla riscoperta dell’artista avvenuta in quegli anni.<br />Coletti, figlio di una famiglia alto-borghese, animata da un senso civico e con ambizioni da classe dirigente, concepì la propria attività come un servizio alla collettività, in campo amministrativo e pubblico; di qui il suo legame con Treviso, la cui identità era fondata su di un patrimonio artistico e culturale comune, che doveva essere fatto proprio dai cittadini. Tra i molteplici studi, tutti condotti con quest’ultimo obiettivo, quello su Lotto è certamente il più vicino a tale spirito.<br /><br />Si ripercorreranno dunque le ricerche dello storico dell’arte trevigiano, a partire innanzitutto dal primo contatto con l’artista, in occasione delle sue ricognizioni sul campo come Ispettore onorario della Soprintendenza di Venezia, quando avvenne il clamoroso incontro con il Giovane malato, poi acquistato dalle Gallerie dell’Accademia di Venezia. Aprendo però per la prima volta la raccolta dei documenti riguardanti la scoperta e l’acquisto, si rivela, dietro la celebrazione di un evento tanto importante quanto ormai raro all’epoca, e l’importante operazione compiuta dallo Stato, una trattativa lunga e travagliata, sia a causa dell’opposizione dei proprietari alla vendita, sia per gli attriti che si scatenarono tra Coletti e il Soprintendente di Venezia Gino Fogolari. I due erano infatti divisi da una concezione completamente diversa del proprio servizio al patrimonio artistico: disinteressato, ma fortemente vincolato all’ottenimento di un riconoscimento materiale, quello del “privato cittadino” Coletti; molto più misurato quello di Fogolari, per il quale tutela del patrimonio e lucro sull’arte erano tra loro incompatibili.<br />Nonostante la disputa, l’affaire Rover si risolse, dando al Nostro fama nazionale e segnando per lui un nuovo capitolo, con l’inizio degli incarichi universitari, e una nuova fase della ricerca critica, che passò dall’interesse per la filologia stretta dei primi lavori alle ardite ipotesi come quella sulla formazione marchigiana del pittore, esposta nell’articolo Lotto e Melozzo (1939). Questa ebbe all’epoca molto successo tra gli studiosi, e fu poi alla base di alcune delle dispute più accese nate in seno alla commissione guidata da Silvio Zampetti in occasione dell’organizzazione della grande mostra a Palazzo Ducale, nel 1953. Nonostante le difficoltà, l’esposizione di Venezia fissò per la prima volta i principali nodi critici in modo preciso, segnò il riconoscimento dell’artista al grande pubblico e una nuova ondata di pubblicazioni, che contribuirono a smontarne in parte il mito “romantico”; e Coletti non poté, ancora una volta, far mancare il proprio contributo.<br />Uscita a pochi giorni dall’apertura della mostra grazie al prezioso lavoro di Nino Zucchelli, di cui è rimasta traccia tra i documenti riscoperti, la monografia Lotto si apre con un saggio introduttivo che, pur con qualche forzatura (si veda il paragone con Tintoretto), conserva intatta tutta la sua attualità e lo spirito dell’autore: la ricerca, nelle opere d’arte, della testimonianza diretta di una condizione umana. Coletti non utilizza l’approccio narrativo di Anna Banti, né le metafore ardite di Longhi, ma come il suo Lotto ricerca le emozioni in modo sottile, quasi non volesse annoiare il lettore, in un discorso sobrio, ma sempre equilibrato e acuto, che unisce filologia e teoria con una prosa sempre sorvegliata e raffinatissima. Queste indubbie qualità risaltano soprattutto se confrontate con il netto scadimento qualitativo dell’apparato iconografico, dove a fianco dei grandi capolavori, Coletti inserisce “inediti” di collezioni private incompatibili per cronologia e contesto; questi, insieme al mancato inserimento di alcune opere autografe, rischiano di oscurarne gli indubbi meriti. Lo stesso modus operandi si riscontra tale e quale in altri scritti degli anni ’50; confrontando poi la monografia lottesca con esempi precedenti, tra cui spicca proprio il lavoro dedicato al Robusti (1940), il cambiamento di approccio adottato appare evidente.<br />Aiutandoci anche con alcuni esempi tratti dall’ultimo articolo scritto su Lotto, Miscellanea lottesca, cercheremo dunque di capirne le motivazioni, che potrebbero spiegare anche la diatriba con Fogolari sul ritratto Rover e perché Luigi Coletti si sia scontrato spesso con i colleghi sul campo delle attribuzioni, durante la preparazione della mostra e in altre occasioni, così come registrato nella sua corrispondenza.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3e08d14062be113a772ad0cf77567fd3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61646420,"asset_id":41473726,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61646420/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41473726"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41473726"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41473726; 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"Quel mort, pour quel retour?" ("Quale morte, per quale ritorno?")" class="work-thumbnail" src="https://attachments.academia-assets.com/57768114/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37772328/Il_trasporto_del_corpo_di_Achille_Quel_mort_pour_quel_retour_Quale_morte_per_quale_ritorno_">Il trasporto del corpo di Achille. "Quel mort, pour quel retour?" ("Quale morte, per quale ritorno?")</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disamina dell'iconografia del trasporto del corpo di Achille da parte di Aiace in arte classica, ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disamina dell'iconografia del trasporto del corpo di Achille da parte di Aiace in arte classica, soprattutto nella ceramica greca a figure nere. La metafora dell'eroe/guerriero, della sua morte e del suo ritorno alla città, nei protagonisti principali della scena e nelle figure di contorno.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b96c33d972f06aac588b4718ccbbff8c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57768114,"asset_id":37772328,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57768114/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37772328"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37772328"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37772328; 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