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data-src="https://static2-living.corriereobjects.it/wp-content/uploads/2022/10/Villa-malaparte-getty-ubiquitous-livingcorriere-375x375.jpg?v=617495" class="lazyload"><noscript><img data-amp-layout="responsive" data-amp-sizes="(min-width: 300px) 300px, 100vw" src="https://static2-living.corriereobjects.it/wp-content/uploads/2022/10/Villa-malaparte-getty-ubiquitous-livingcorriere-375x375.jpg?v=617495" width="375" height="375" alt="" loading="lazy" data-eio="l"></noscript></source></source></picture></a> <a target="_blank" href="http://pinterest.com/pin/create/link/?url=https://living.corriere.it/case/autore/gallery/villa-malaparte-capri-il-disprezzo-godard/&description=Dall'amore%20al%20Disprezzo%20sulla%20scala%20di%20Villa%20Malaparte&media=https://static2-living.corriereobjects.it/wp-content/uploads/2022/10/Villa-malaparte-getty-ubiquitous-livingcorriere-scaled.jpg?v=617495" onclick="popUp=window.open('http://pinterest.com/pin/create/button/?url=hhttps://living.corriere.it/case/autore/gallery/villa-malaparte-capri-il-disprezzo-godard/&description=Dall'amore al Disprezzo sulla scala di Villa Malaparte&media=https://static2-living.corriereobjects.it/wp-content/uploads/2022/10/Villa-malaparte-getty-ubiquitous-livingcorriere-scaled.jpg?v=617495', 'popupwindow', 'scrollbars=yes,width=800,height=400');popUp.focus();return false;" class="share-pinterest" data-wpel-link="internal"></a> <a href="https://living.corriere.it/case/autore/gallery/villa-malaparte-capri-il-disprezzo-godard/?intcmp=galleryarticolo" target="_blank" class="article-zoom-link" data-wpel-link="internal">GUARDA LA GALLERY</a> </div> </div> <blockquote> <p style="font-weight: 400;text-align: center"><em>IL CINEMA SOSTITUISCE AL NOSTRO SGUARDO UN MONDO CHE SI ACCORDA AI NOSTRI DESIDERI. </em><em>IL DISPREZZO È LA STORIA DI QUESTO MONDO</em></p> </blockquote> <p>Con queste parole fuori campo <strong>Jean-Luc Godard</strong>, grande regista della <em>Nouvelle Vague</em> recentemente scomparso, apriva <strong><em>Il disprezzo </em></strong><em>(Le Mépris), </em>film capolavoro che scrisse e diresse nel 1963 su commissione del produttore cinematografico italiano Carlo Ponti. Tratta dall’omonimo romanzo di <strong>Alberto Moravia</strong>, la celebre pellicola vede come protagonista una divina <strong>Brigitte Bardot </strong>nei panni di Camille Javal (Emilia nella versione italiana), accompagnata da <strong>Michel Piccoli</strong>, grande attore francese che interpreta la parte del marito, lo scrittore Paul Javal (Paolo nella versione italiana). Sebbene Godard detestasse il romanzo di Moravia, che considerava un “volumetto da leggere in treno”, e persino la Bardot, che gli venne imposta senza se e senza ma, sia il film che il libro raccontano a loro modo una crisi matrimoniale, <del>l’evolversi di un sentimento che dal suo apice – l’amore folle, apparentemente indistruttibile – digrada e si degrada sino a trasformarsi in disprezzo</del>.</p> <p>Silenzi e dialoghi, intervallati da sequenze di nudo mai volgari, si consumano in un contesto aspro e metafisico, quello della <strong>Villa Malaparte</strong> <strong>a Capri</strong>: iconica dimora razionalista che aveva già segnato il divorzio tra il suo architetto, <strong>Adalberto Libera</strong>, e il suo committente, lo scrittore e intellettuale <strong>Curzio Malaparte</strong>, il quale la ultimò a sua immagine e somiglianza <span style="color: var(--global--color-primary);font-family: var(--global--font-secondary);font-size: var(--global--font-size-base);background-color: var(--global--color-background)">nel 1942 </span><span style="color: var(--global--color-primary);font-family: var(--global--font-secondary);font-size: var(--global--font-size-base);background-color: var(--global--color-background)">ribattezzandola “casa come me”.</span> <div class="adv-wrapper bottom-1 " style="text-align: center; clear: both; margin: 0 auto;"> <div id="rcsad_Bottom1" class="" style="display: none;"></div> </div></p> <h2>CINEMA E ARCHITETTURA</h2> <p><span style="color: var(--global--color-primary);font-family: var(--global--font-secondary);font-size: var(--global--font-size-base);background-color: var(--global--color-background)">Considerata <strong>uno dei <a href="https://living.corriere.it/case/autore/cupola-antonioni-e-vitti-storia/" data-wpel-link="internal">capolavori dell’architettura moderna</a></strong>, nonché un eccellente esempio razionalista di integrazione con l’ambiente naturale circostante, questa opera architettonica</span><span style="background-color: var(--global--color-background)"><span style="font-family: var(--global--font-secondary)"><span style="color: var(--global--color-primary)"> diverrà celebre non solo per la sua strategica posizione su un irto e stretto promontorio roccioso a picco sul mare – Capo Massullo – ma per la particolarità del suo volume: </span></span><del style="color: var(--global--color-primary);font-family: var(--global--font-secondary);font-size: var(--global--font-size-base)">un parallelepipedo color rosso pompeiano, rotto da una scala dall’aspetto precolombiano che conduce al <em>solarium</em></del><span style="font-family: var(--global--font-secondary)"><span style="color: var(--global--color-primary)">. </span></span></span></p> <p><span style="background-color: var(--global--color-background)"><span style="font-family: var(--global--font-secondary)"><span style="color: var(--global--color-primary)">Pare che questo gesto formale, forte e deciso, </span></span><span style="font-family: var(--global--font-secondary)"><span style="color: var(--global--color-primary)">si debba unicamente a Malaparte,</span></span></span><span style="background-color: var(--global--color-background)"><span style="font-family: var(--global--font-secondary)"><span style="color: var(--global--color-primary)"> il quale, </span></span>facendosi aiutare dal costruttore<span style="font-family: var(--global--font-secondary)"><span style="color: var(--global--color-primary)"> <strong>Adolfo Amitrano</strong> e dall’artista <strong>Uberto Bonetti</strong>, portò a termine il lavoro iniziato da Libera saturando</span></span><span style="font-family: var(--global--font-secondary)"><span style="color: var(--global--color-primary)"> gli spazi aperti rimasti e trasformando il terrazzo in una grande <strong>stanza a cielo aperto</strong>. È qui che la costruzione, austera ed essenziale, si concede il suo unico ornamento: un <strong>ricciolo di cemento bianco</strong> che nasconde la canna fumaria e protegge da sguardi indiscreti. All’interno della villa, invece, grandi aperture rifinite in legno incorniciano il panorama portando luce nelle grandi sale; a irrompere nella complessiva sobrietà degli spazi sono stavolta le <strong>maioliche colorate </strong>dipinte a mano da Alberto Savinio.</span></span></span></p> <figure id="attachment_605448" aria-describedby="caption-attachment-605448" style="width: 1739px" class="wp-caption aligncenter"><img class="size-full wp-image-605448 lazyload ewww_webp_lazy_load" src="data:image/png;base64,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" alt="Il disprezzo - Michel Piccoli e Brigitte Bardot" width="1739" height="2560" data-src="https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-scaled.jpg?v=1653391379" loading="lazy" data-srcset="https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-scaled.jpg?v=1653391379 1739w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-204x300.jpg?v=1653391381 204w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-696x1024.jpg?v=1653391382 696w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-768x1130.jpg?v=1653391382 768w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-1044x1536.jpg?v=1653391383 1044w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-1392x2048.jpg?v=1653391384 1392w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-1568x2308.jpg?v=1653391388 1568w" data-sizes="auto" data-src-webp="https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-scaled.jpg.webp?v=1653391379" data-srcset-webp="https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-scaled.jpg.webp?v=1653391379 1739w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-204x300.jpg.webp?v=1653391381 204w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-696x1024.jpg.webp?v=1653391382 696w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-768x1130.jpg.webp?v=1653391382 768w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-1044x1536.jpg.webp?v=1653391383 1044w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-1392x2048.jpg.webp?v=1653391384 1392w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-1568x2308.jpg.webp?v=1653391388 1568w"><noscript><img class="size-full wp-image-605448" src="https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-scaled.jpg?v=1653391379" alt="Il disprezzo - Michel Piccoli e Brigitte Bardot" width="1739" height="2560" srcset="https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-scaled.jpg?v=1653391379 1739w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-204x300.jpg?v=1653391381 204w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-696x1024.jpg?v=1653391382 696w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-768x1130.jpg?v=1653391382 768w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-1044x1536.jpg?v=1653391383 1044w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-1392x2048.jpg?v=1653391384 1392w, https://static2-living.corriereobjects.it/wp-content/uploads/2022/05/il-disprezzo-Marceau-Cocinor-Les-Films-Concordia-Georges-de-Beauregard-Carlo-Ponti-Collection-Sunset-Boulevard-Corbis-Getty-livingcorriere-1568x2308.jpg?v=1653391388 1568w" sizes="(max-width: 1739px) 100vw, 1739px" data-eio="l"></noscript><figcaption id="caption-attachment-605448" class="wp-caption-text">Foto Marceau-Cocinor/Les Films Concordia/ Georges de Beauregard/ Carlo Ponti/ Collection Sunset Boulevard/Corbis via Getty Images</figcaption></figure><h2>LA STORIA DI PAUL E CAMILLE</h2> <p>Ispirata a quella della <strong>chiesa dell’Annunziata</strong> a <span style="color: var(--global--color-primary);font-family: var(--global--font-secondary);font-size: var(--global--font-size-base);background-color: var(--global--color-background)">Lipari, dove Malaparte trascorse un periodo di confino, </span>l<span style="background-color: var(--global--color-background)"><span style="font-family: var(--global--font-secondary)"><span style="color: var(--global--color-primary)">‘iconica <a href="https://living.corriere.it/case/autore/nendo-stairway-house-tokyo-casa-scala-extra-large/" target="_blank" rel="noopener" data-wpel-link="internal">scalinata</a> trapezoidale sul dorso della villa diventa</span></span><span style="font-family: var(--global--font-secondary)"><span style="color: var(--global--color-primary)"> la <strong>metafora</strong> perfetta dell’inesorabile esaurirsi della passione tra i protagonisti del <em>Il Disprezzo</em></span></span></span><span style="background-color: var(--global--color-background)"><span style="font-family: var(--global--font-secondary)"><span style="color: var(--global--color-primary)">. </span></span></span>Paul viene incaricato dal produttore statunitense Jerry Prokosch di riscrivere, in una chiave più audace e commerciale, la sceneggiatura di un film sull’Odissea diretto dal famoso regista tedesco <strong>Fritz Lang</strong> (interpretato nella pellicola proprio da Lang in persona). Nel frattempo, davanti alle ripetute avances del produttore, Camille si convince che il marito stia sfruttando la sua bellezza per ottenere delle agevolazioni sul lavoro; è un malinteso, ma anche una strada senza uscita. Da quel momento si insinuerà in lei un profondo <strong>sentimento di disprezzo</strong> nei confronti di Paul, al quale non vuole nemmeno dare spiegazioni.</p> <p>Tentativi di riconciliazione da parte di lui e parole non dette da parte di lei si susseguono sino alla scena più iconica: u<span style="background-color: var(--global--color-background)"><span style="font-family: var(--global--font-secondary)"><span style="color: var(--global--color-primary)">na </span></span></span><span style="background-color: var(--global--color-background)"><span style="font-family: var(--global--font-secondary)"><span style="color: var(--global--color-primary)">lunga <strong>panoramica in campo lungo</strong> che segue </span></span>Paul mentre raggiunge <span style="font-family: var(--global--font-secondary)"><span style="color: var(--global--color-primary)">la moglie sul <strong>tetto-terrazzo</strong> di Villa Malaparte. Nascosta dal bianco <strong>paravento curvilineo</strong>, Camille prende il sole … I suoi silenzi parlano. È già anni luce lontana da Paul. Questo piano sequenza, omaggiato anche dalla locandina del <strong>Festival di Cannes 2016</strong>, è il preludio di una <del>simbolica discesa sino al mare, dell’amore che sulla via del tramonto finisce per arrendersi al più terribile dei suoi opposti.</del> </span></span></span><span style="background-color: var(--global--color-background)"><span style="font-family: var(--global--font-secondary)"><span style="color: var(--global--color-primary)">È la fine dei giochi: Camille si tuffa nel blu, cederà alla corte spietata di Prokosch e saluterà Paul, per sempre.</span></span></span></p> <p>Ritroviamo <a href="https://living.corriere.it/architettura/card/ciak-si-gira-larchitettura-dautore-al-cinema/" target="_blank" rel="noopener" data-wpel-link="internal">Villa Malaparte</a> anche nelle riprese del film <em><strong>La pelle</strong></em> (1981) di Liliana Cavani, con <strong>Marcello Mastroianni</strong> proprio nei panni di Curzio Malaparte (autore del romanzo da cui è tratta l’opera), e negli spot di <strong>Ermenegildo Zegna</strong> e <strong>Saint Laurent</strong>, rispettivamente diretti Jonas Åkerlund e <span style="color: var(--global--color-primary);font-family: var(--global--font-secondary);font-size: var(--global--font-size-base);background-color: var(--global--color-background)">Nathalie Canguilhem.</span></p> <h2>IL CINEMA DI GODARD</h2> <p>Premiato con il Leone d’oro nel 1984 e l’Oscar alla carriera nel 2011, Jean-Luc Godard (1930 – 2022) è stato e rimarrà un <strong>regista inimitabile</strong>. Oltre al <em>Il disprezzo</em>, fra i numerosissimi film ricordiamo <em><strong>Fino a</strong><strong>ll’ultimo respiro</strong> (A bout de souffle)</em>, con Jean-Paul Belmondo e Jean Seberg, <em><strong>Il bandito delle 11</strong> (Pierrot le fou)</em>, sempre con Belmondo, e <em><strong>Si salvi chi può, la vita </strong>(<i>Sauve qui peut, la vie</i>)</em>, con Isabelle Huppert. Il suo cinema, permeato di digressioni ed effetti visivi, come l’alterazione di colori e luci, non si concentra quasi mai sulle azioni, ma su quello che avviene fra esse: il sottotesto e il non detto sono a tutti gli effetti la trama. Anche il <strong>linguaggio filmico</strong>, tipico della <em>Nouvelle</em> <em>Vague</em>, è profondamente sincero: non vuole creare l’illusione della realtà, ma elevare l’<strong>atto della narrazione</strong> rispetto al racconto stesso. Questo lo si evince ne <em>Il disprezzo </em>sin dai titoli di testa, recitati a voce alta mentre una cinepresa in azione si rivela allo spettatore.</p> <p>Ironia della sorte, il film – che si incentrava sia sulle relazioni di coppia che sulle difficili dinamiche nel mondo del cinema – finì per rivelarsi particolarmente <strong>autobiografico </strong>per Godard e fin <strong>troppo artistico </strong>(ergo poco commerciale) per la produzione. Dopo il primo compromesso sulla coppia Brigitte Bardot e Michel Piccoli (Carlo Ponti propendeva inizialmente per la moglie Sophia Loren con <span style="color: var(--global--color-primary);font-family: var(--global--font-secondary);font-size: var(--global--font-size-base);background-color: var(--global--color-background)">Marcello Mastroianni, </span><span style="color: var(--global--color-primary);font-family: var(--global--font-secondary);font-size: var(--global--font-size-base);background-color: var(--global--color-background)">mentre Godard per Kim Novak e Frank Sinatra), al regista ne venne chiesto un secondo ben più grande, ossia quello di </span>girare alcune scene <em>osé</em> della “Marilyn Monroe europea” come garanzia per attirare il pubblico in sala. Egli acconsentì e attraverso il corpo nudo della Bardot, che per altro “non le interessava tanto quanto lui non interessava a lei”, riuscì a mettere magistralmente in scena<strong> poesia pura</strong>, senza tuttavia mai scadere nell’oscenità. Un vero paradosso, se pensiamo che nella <strong>versione italiana</strong>, <strong>censurata</strong>, barbaramente mutilata e in seguito disconosciuta da Godard, queste immagini non compaiono nemmeno. Del resto, l’Odissea “moderna e psicanalitica” immaginata da Paul Javal, specchio del regista nel film, non ebbe un destino migliore.</p> <div class="all-rights-reserved" style="margin:20px 0">Living ©RIPRODUZIONE RISERVATA</div></body> </div>  <div class="article-newsletter-block row"> <div class="col-lg-7 col-md-12 text-container"> <strong>La newsletter di Living</strong>: stili e tendenze per la tua casa </div> <div class="col-lg-5 col-md-12 input-container"> <div class="vert-centered"> <form action="https://www.corriere.it/account/login"> <input type="text" id="mail" name="useremail" placeholder="email"> <input type="submit" value="Iscriviti"> <input type="hidden" name="idNewsletter" value="13"> <input type="hidden" name="name" value="Living"> <input type="hidden" name="landing" value="https://abbonamenti.corriere.it/tutto-il-mio-corriere/?newsletter=1"> </form>  </div> </div> </div>     <div class="tag-container"><a href="https://living.corriere.it/tag/film-e-architettura/" rel="tag" data-wpel-link="internal">film e architettura</a><a href="https://living.corriere.it/tag/house-4-love/" rel="tag" data-wpel-link="internal">House 4 Love</a><a href="https://living.corriere.it/tag/villa-malaparte/" rel="tag" data-wpel-link="internal">villa malaparte</a></div>   <div class="article-signature"> </div> <div class="copyright"> 03 Novembre 2022 - Living © RIPRODUZIONE RISERVATA </div>   <section class="related-content related-content-more"> <br> <div class="related-content-row"> <div id="taboola-below-article-thumbnails-widget"></div> <script type="text/javascript"> window._taboola = window._taboola || []; _taboola.push({ mode: "thumbnails-a", container: "taboola-below-article-thumbnails-widget", placement: "Below Article Thumbnails Widget", target_type: 'mix' }); </script> </div> </section>   <div class="last-articles-title">Leggi anche</div> <div class="last-articles"> <div class="last-article-block row"> <div class="col col-lg-4 col-sm-6 latest-thumb"> <img width="1095" height="615" src="data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAABEcAAAJnAQMAAABPlK/BAAAABlBMVEUAAAD///+l2Z/dAAAAAXRSTlMAQObYZgAAAAlwSFlzAAAOxAAADsQBlSsOGwAAAGhJREFUeNrtwQEBAAAAgiD/r25IQAEAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA8GkuVAAGZthRIAAAAAElFTkSuQmCC" class="attachment-1095x615 size-1095x615 wp-post-image lazyload ewww_webp_lazy_load" alt="" data-src="https://static2-living.corriereobjects.it/wp-content/uploads/2024/09/Massaro-House-isola-di-Petra-New-York-Frank-Lloyd-Wright-livingcorriere-08-1095x615.jpg?v=664266" loading="lazy" data-src-webp="https://static2-living.corriereobjects.it/wp-content/uploads/2024/09/Massaro-House-isola-di-Petra-New-York-Frank-Lloyd-Wright-livingcorriere-08-1095x615.jpg.webp?v=664266" /><noscript><img width="1095" height="615" src="https://static2-living.corriereobjects.it/wp-content/uploads/2024/09/Massaro-House-isola-di-Petra-New-York-Frank-Lloyd-Wright-livingcorriere-08-1095x615.jpg?v=664266" class="attachment-1095x615 size-1095x615 wp-post-image" alt="" data-eio="l" /></noscript> </div> <div class="col col-lg-8 col-sm-6"> <a href="https://living.corriere.it/case/autore/massaro-house-frank-lloyd-wright/?intcmp=ultimipubblicati" data-wpel-link="internal">La Massaro House, capolavoro inedito di Frank Lloyd Wright</a> Lago Mahopac, stato di New York, 50 miglia da Manhattan. 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