Painting the National Portrait: Retrospective Exhibitions of French and Italian Art in the 1930s
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- Fig 11-Petit Palais Facade-Cimabue à Tiepolo-1935 (Italiano)
- Figure 1 (Italiano)
- Figure 2 Mussolini the Magnificent (Italiano)
- Fig 4 Tiepolo Moses (Italiano)
- Figure 3 Plan of Galleries 1930 (Italiano)
- Figure 5 Plan of Galleries 1932 (Italiano)
- Figure 6 Gallery 2 1932 (Italiano)
- Figure 7 La Pietà de Nouans (Italiano)
- Figure 8 La Loge (Italiano)
- Figure 9 La Madonna Litta (Italiano)
- Figure 10 Plan of Galleries 1935 (Italiano)
- Figure 11 Salle 15 1935 (Italiano)
- Figure 12 La Bête Noire (Italiano)
- Figure 13 Plan of Galleries 1937 (Italiano)
- Figure 14 Salle 4 1937 (Italiano)
- Figure 15 Small Format Poster 1937 (Italiano)
- Figure 16 view of the Exposition internationale (Italiano)
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DOI:
https://doi.org/10.13138/2039-2362/1385Abstract
In contrast to the museum, exhibitions, by virtue of their temporary nature, allow art to be mobilised in response to more immediate demands and, in the case of the travelling exhibition, export historical narratives of the nation abroad. This essays examines four exhibitions of French and Italian art which took place in the decade before the Second World War: two in London, the “Exhibition of Italian Art” in 1930 and the “Exhibition of French Art” in 1932; and two in Paris, “L’Art italien de Cimabue à Tiepolo” in 1935 and the “Chefs d’oeuvre de l’art français” in 1937. In comparing the shows – their organisation, contents, display and critical reception – my intention is to unpick the various political, art historical, even economic interests which sought to marshal art in these years. If the different faces these retrospectives presented were neither faithful nor scholarly refl ections, in each case the evocation of a distant past was a mirror that refl ected the divergent needs of the present.
Contrariamente ai musei, la natura temporanea delle esposizioni permette all’arte di essere spostata in risposta a domande più immediate e, nel caso di esposizioni itineranti, di esportare narrative storiche della nazione all’estero. Questo saggio esamina quattro esibizioni d’arte francese e italiana che si sono tenute nel decennio che ha preceduto la Seconda Guerra Mondiale: due a Londra, “L’esposizione d’arte Italiana” del 1930 e “L’esposizione d’arte francese” del 1932; due a Parigi, “L’arte italiana da Cimabue a Tiepolo” del 1935 e “Capolavori dell’arte francese” del 1937. Dal confronto delle suddette – la loro organizzazione, i contenuti, l’esposizione e la critica – la mia intenzione è di discernere i fattori politici, artistici, ed anche economici che hanno spinto ha promuovere l’arte in questi anni. Se le varie sfaccettature che queste retrospettive hanno presentato non erano né fedeli e neppure rifl essioni erudite, in ogni caso l’evocazione di un distante passato era uno specchio che rifletteva i divergenti bisogni del presente.
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