N. 14 (2016): Musei e mostre tra le due Guerre

• Indice / Table of contents

  5-9

  https://doi.org/10.13138/2039-2362/1546

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Editoriale

• Editoriale / Editorial

  Massimo Montella

  11-12

  https://doi.org/10.13138/2039-2362/1545

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Musei e mostre tra le due Guerre: Introduzione

• Introduzione / Introduction

  Silvia Cecchini, Patrizia Dragoni

  13-22

  https://doi.org/10.13138/2039-2362/1559

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Musei e mostre tra le due Guerre: Saggi

• «La concezione moderna del museo» (1930). All’origine di un sistema di regole comuni per i musei / “The modern conception of the museum” (1930). To the origins of a system of common rules for museums

  Patrizia Dragoni

  25-51

  https://doi.org/10.13138/2039-2362/1464

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• Dalla «più difforme congerie di oggetti» ad un «perfetto ambiente spirituale» per l’opera d’arte. L’allestimento del Museo Nazionale di Palermo alla fine degli anni Venti del Novecento / From the “più difforme congerie di oggetti” (most dissimilar jumble of objects) to a “perfetto ambiente spirituale” (perfect spiritual environment) for the work of art. The display of Palermo National Museum at the end of the 1920s

  Ivana Bruno

  53-88

  https://doi.org/10.13138/2039-2362/1259

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• Twenty years of the Archaeological Museum in Zadar in the documents of the Department for Antiquities of Marche, Abruzzi, Molise and Zadar

  Serena Brunelli

  89-130

  https://doi.org/10.13138/2039-2362/1440

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• «Le graminacee della burocrazia» sul terreno delle idee museali per la Certosa di Capri (1921-1936) / “Le graminacee della burrocrazia” (The graminaceous plants of bureaucracy) on the ground of museum ideas for Certosa of Capri (1921-1936)

  Maria Ida Catalano

  131-172

  https://doi.org/10.13138/2039-2362/1529

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• The Beginnings and Development of the Collection of Historic Musical Instruments of the Kunsthistorisches Museum in Vienna

  Beatrix Darmstaedter

  173-192

  https://doi.org/10.13138/2039-2362/1352

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• The debate over the creation of a Museum of Modern Art in Paris between the wars and the shaping of an evolutionary narrative for French art

  Chara Kolokytha

  193-222

  https://doi.org/10.13138/2039-2362/1353

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• The “Mostra del Quarantennio” and the Canon of Modern Art at the Venice Biennale in the Interwar Period

  Laura Moure Cecchini

  223-252

  https://doi.org/10.13138/2039-2362/1387

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• Mostrare e tutelare. Esposizioni, propaganda e conservazione nelle province di Como e Sondrio (1920-1938) / Exhibiting and protecting. Exhibitions, propaganda and conservation in the provinces of Como and Sondrio (1920-1938)

  Gianpaolo Angelini

  503-530

  https://doi.org/10.13138/2039-2362/1394

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• Allestimenti museali, mostre e aura dei materiali tra le due guerre nel pensiero di Amedeo Maiuri / Museum displays, exhibitions and aura of materials between WWI and the WWII in Amedeo Maiuri’s thinking

  Gabriella Prisco

  531-574

  https://doi.org/10.13138/2039-2362/1437

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• L’imminenza del "doppio”. Opere e allestimenti di Edoardo Persico / The imminence of the “double”. Edoardo Persico’s works and displays

  Roberto Cresti

  575-611

  https://doi.org/10.13138/2039-2362/1448

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• The Strossmayer Gallery in Zagreb in the interwar period: from a utopian project to a renowned institution

  Ljerka Dulibic, Iva Pasini Tržec

  613-634

  https://doi.org/10.13138/2039-2362/1393

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• Musei fra le due guerre: racconto di un’annessione. Il caso della Pinacoteca civica di Ancona fra riallestimenti e dispersioni / Museums between WWI and WWII: story of an annexation. The case of the Civic Art Gallery of Ancona between rearrangements and dispersions

  Caterina Paparello

  635-694

  https://doi.org/10.13138/2039-2362/1242

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• “Ma l’America è lontana”. A proposito della nascita del Modern Art Museum di New York (1929) / “Ma l’America è lontana” (But America is far-away). Notes on the opening of the Modern Art Museum of New York (1929)

  Stefania Zuliani

  695-710

  https://doi.org/10.13138/2039-2362/1438

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• La differenza tra noi e “gli altri”: su alcune mostre coloniali milanesi organizzate nel Ventennio fascista / The difference between us and “the others”: notes on some colonial exhibitions in Milan during the “Ventennio” (the Fascist period)

  Silvia Colombo

  711-738

  https://doi.org/10.13138/2039-2362/1388

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• «Arte al servizio di un’idea». Il ruolo dell’“Esposizione dell’Aeronautica italiana” (1934) nel dialogo tra arte, architettura, politica e pubblico / «Arte al servizio di un’idea» (Art at an idea’s service). The role of the “Esposizione dell’Aeronautica italiana” (1934) in the dialogue between art, architecture, politics and public

  Orietta Lanzarini

  739-786

  https://doi.org/10.13138/2039-2362/1445

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• Mostrare/Dimostrare. Gli allestimenti effimeri nella Roma del decennale fascista (1932) / Exhibiting/Showing. The ephemeral displays in Rome during the tenth anniversary of the March on Rome (1932)

  Aurora Roscini Vitali

  787-811

  https://doi.org/10.13138/2039-2362/1384

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• Historia de un fracaso. Las exposiciones del fascismo en la España de la Segunda República (1933-1936) / The story of a failure. The Fascism exhibitions in Spain during the Second Republic

  Alina Navas

  813-838

  https://doi.org/10.13138/2039-2362/1279

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• Mostre e musei nei cinegiornali dell’Archivio Luce tra le due guerre / Exhibitions and museums in the newsreels of the Institute Luce Archive between the WWI and the WWII

  Tommaso Casini

  407-427

  https://doi.org/10.13138/2039-2362/1395

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• L’Italia e l’Europa negli anni Trenta. Musei, storia dell’arte, critica e restauro nei documenti dell’inchiesta internazionale sulla formazione dei restauratori (1932) / Italy and Europe during the 1930s. Museums, art history, art criticism and restoration in the documents of the international survey about the training of restorers (1932)

  Silvia Cecchini

  429-458

  https://doi.org/10.13138/2039-2362/1535

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• «A Ca’ Giustinian fu tutto diverso». La mostra di Paolo Veronese a Venezia (1939) / «A Ca’ Giustinian fu tutto diverso» (At Ca’ Giustiniani eveything was different). Paolo Veronese exhibition in Venice (1939)

  Matilde Cartolari

  459-502

  https://doi.org/10.13138/2039-2362/1390

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• The exhibition for sale. The Austrian Museum for Art and Industry between nationalistic exploitation and self-perception as an educational institution during the Austrofascist era

  Maria-Luise Feher

  253-273

  https://doi.org/10.13138/2039-2362/1397

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• Painting the National Portrait: Retrospective Exhibitions of French and Italian Art in the 1930s

  Kate Kangaslahti

  275-345

  https://doi.org/10.13138/2039-2362/1385

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• Material reenactment: The missing and replaced paintings of Malevich’s 1929 retrospective

  Marie Gasper-Hulvat

  347-368

  https://doi.org/10.13138/2039-2362/1391

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• Hospitalidad transnacional: la implicación francesa en la exposición "L'Art Catalan" de París (1937) / Transnational hospitality: the French involvement in the exhibition “L’art Catalan” in Paris (1937)

  Eva March

  369-386

  https://doi.org/10.13138/2039-2362/1441

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• L'art et le temps de la chasse dans la section française de l' "Internationale Jagdausstellung" (Berlin, 1937) / The art and the time of the hunt in the French section of the “Internationale Jagdausstellung” (Berlin, 1937)

  Catherine Girard

  387-405

  https://doi.org/10.13138/2039-2362/1446

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• La ricostruzione del pergamo di Giovanni Pisano: solennità impareggiabile dell’arte e del fascismo / The reconstruction of the pulpit by Giovanni Pisano: incomparable solemnity of art and fascism

  Fabiana Susini

  839-860

  https://doi.org/10.13138/2039-2362/1398

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Saggi

• Digitisation of Cultural Heritage and Business Model Innovation: The Case of the Uffizi Gallery in Florence

  Luciana Lazzeretti, Andrea Sartori

  945-970

  https://doi.org/10.13138/2039-2362/1436

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• S. Fiorentino di Nuvolato (MN). Un’ipotesi sulle vicende costruttive e alcune considerazioni sul cantiere della chiesa romanica / S. Fiorentino di Nuvolato (MN). An hypothesis on building events and some notes on the construction site of the Romanesque church

  Cristiano Cerioni

  865-894

  https://doi.org/10.13138/2039-2362/1381

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• Reflections on the History of Dalmatian Culture and Art in the Immediate Post-War Period

  Ivana Prijatelj Pavicic

  895-911

  https://doi.org/10.13138/2039-2362/1461

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• Elements for impact assessment of cultural heritage and community well-being. A qualitative study on Casentino’s Eco-museum

  Glenda Galeotti

  913-943

  https://doi.org/10.13138/2039-2362/1457

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Documenti

• La catalogazione e la descrizione archivistica in rapporto all'evoluzione dell’ambiente digitale. Riflessioni sul nuovo standard RDA / The cataloging and archival description in the digital environment. Considerations about the new standard RDA

  Giorgia Di Marcantonio

  973-986

  https://doi.org/10.13138/2039-2362/1534

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• Limiti e potenzialità per lo sviluppo dell’heritage-based tourism nelle aree interne. Il caso di Fiordimonte (MC) / Limitations and potentialities for the development of the heritage-based tourism in inner areas. The case of Fiordimonte (MC)

  Elisabetta Maroni

  987-1032

  https://doi.org/10.13138/2039-2362/1538

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Recensioni

• Lorenzo Casini, Ereditare il futuro. Dilemmi sul patrimonio culturale / Lorenzo Casini, Inheriting the future. Dilemmas about cultural heritage

  Carmen Vitale

  1035-1037

  https://doi.org/10.13138/2039-2362/1537

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Classici

• I musei dell'Unione Sovietica / The museums of the Soviet Union

  Frederick Antal

  1041-1043

  https://doi.org/10.13138/2039-2362/1547

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In memoria di Claudia Giontella

• Ricerca, tutela e valorizzazione del patrimonio archeologico: opinioni a confronto / Research, protection and enhancement of archaeological heritage: comparing different point of views

  Carmelo Grasso, Mario Pagano, Paolo Gull, Francesca Sogliani

  1047-1115

  https://doi.org/10.13138/2039-2362/1544

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