Vol. 20 No. Supplementi (2026): Women in art history: research, protection, and promotion 2

• Indice

Introduction

• Le donne storiche dell’arte tra tutela, ricerca e valorizzazione 2. Introduzione

  Patrizia Dragoni; Eliana Carrara, Consuelo Lollobrigida , Ilaria Miarelli Mariani

  11-23

  https://doi.org/10.13138/2039-2362/5385

  • PDF (Italiano)

Essays

• Julia Cartwright Ady (1851–1924). Spaces of mediation between England and Italy in Renaissance studies

  Ludovica Girau

  27-36

  https://doi.org/10.13138/2039-2362/4813

  • PDF (Italiano)

• Mary Berenson and the Art of Seeing: Travel, Method, and the Making of a Modern Art Historian

  Michele Amedei

  37-52

  https://doi.org/10.13138/2039-2362/5275

  • PDF

• From Artist to Leader: Benedetta Cappa and the Postwar Futurist Market

  Lucia Colombari

  53-64

  • PDF

• Transatlantic Museum Histories: Elisabeth Moses and the “Living Museum” from Weimar Germany to the U.S. West Coast

  Matilde Cartolari

  65-90

  • PDF (Italiano)

• Renée Schmerling: Gender, Minority, and the Hidden Foundations of Georgian Medieval Art Studies in the Soviet Period

  Alžběta Filipová

  91-102

  https://doi.org/10.13138/2039-2362/4811

  • PDF

• Women in Art Criticism and Greek Postwar Art

  Irene Gerogianni, Charis Kanellopoulou

  103-114

  https://doi.org/10.13138/2039-2362/5135

  • PDF

• Respect to the remains: Lady Callcott and art criticism in the 19th century

  Maria de Fátima Medeiros de Souza

  115-122

  https://doi.org/10.13138/2039-2362/5248

  • PDF

• Edith Hoffmann (1888-1945): The First Successful Hungarian Art Historian and Her Italian Connections

  Anna Kopócsy

  123-132

  https://doi.org/10.13138/2039-2362/4818

  • PDF

• De Finibus Terrae. Margherita Nugent and Alba Medea in historic Apulia in the early 20th century

  Andrea Leonardi, Margherita de Gennaro

  133-148

  https://doi.org/10.13138/2039-2362/5249

  • PDF (Italiano)

• La «madre di tutti i vinciani»: Kate Trauman Steinitz. Corrispondenza con Carlo Pedretti sul *Trattato della Pittura* e la sua bibliografia

  Margherita Melani

  149-162

  https://doi.org/10.13138/2039-2362/5250

  • PDF

• Le allieve di Lionello Venturi a Torino: Anna Maria Brizio e Noemi Gabrielli/Lionello Venturi’s students in Turin: Anna Maria Brizio and Noemi Gabrielli

  Alice Cutullè

  163-176

  https://doi.org/10.13138/2039-2362/4817

  • PDF (Italiano)

• Noemi Gabrielli’s Piedmont. From an understanding of the region to the management of its conservation

  Francesca Nucera

  177-220

  • PDF (Italiano)

• Women Art Writers in Fascist Italy: Female Contributions to Reviews, Exhibitions, and Criticism

  Rosanna Carrieri

  221-238

  https://doi.org/10.13138/2039-2362/5254

  • PDF (Italiano)

• “Spes et metus”: Fernanda Wittgens and her friends in the post-war period

  Erica Bernardi

  239-254

  https://doi.org/10.13138/2039-2362/5258

  • PDF (Italiano)

• Fernanda Gobba Ojetti's post-war work and her relationship with Duilio Susmel: new research perspectives.

  Susanna Arangio

  255-264

  https://doi.org/10.13138/2039-2362/4812

  • PDF (Italiano)

• The Pedagogical Value of Exhibition Design: Reasons, Criteria, and Methods in the Curatorial Choices of Licia Collobi Ragghianti

  Eleonora Caggiati

  265-284

  https://doi.org/10.13138/2039-2362/5255

  • PDF (Italiano)

• Amalia Mezzetti and the refurbishment of the Galleria Estense for the newly established Ministry of Cultural and Environmental Heritage

  Elena Corradini

  285-302

  https://doi.org/10.13138/2039-2362/5370

  • PDF (Italiano)

• Amalia Mezzetti’s Working Archive: Research Pathways and Tools for an Art Historian

  Martina Miorelli

  303-316

  https://doi.org/10.13138/2039-2362/5257

  • PDF (Italiano)

• Elena Bassi (1911–1999) and the early studies on Canova and Neoclassicism

  Vittorio Pajusco, Elena Catra

  317-332

  https://doi.org/10.13138/2039-2362/5259

  • PDF (Italiano)

• Ida Gianelli: from her debut with Information Documentation Archives to Samangallery

  Laura Conconi

  333-342

  https://doi.org/10.13138/2039-2362/5260

  • PDF (Italiano)

• Networking, curation and organisation: a case study of the exhibitions by Nanda Vigo and ZERO

  Laura Calvi

  343-354

  https://doi.org/10.13138/2039-2362/5383

  • PDF (Italiano)

• Luisa Marcucci (1917–1962), a “sharp-eyed observer”: her work at the Uffizi’s Department of Drawings and Prints, as revealed through her papers

  Danilo Lupi

  355-364

  https://doi.org/10.13138/2039-2362/5273

  • PDF (Italiano)

• Bruna Forlati Tamaro: inspector, director, professor and commissioner. The many faces of a ‘Lady’ of Archaeology

  Marta Mascardi

  365-376

  https://doi.org/10.13138/2039-2362/5261

  • PDF (Italiano)

• Viana Conti, art critic and journalist: from «Il Corriere Mercantile» to XLV Biennale di Venezia (1974-1994)

  Andrea Daffra, Alessandro Ferraro

  377-388

  https://doi.org/10.13138/2039-2362/4762

  • PDF (Italiano)

• Exploring the ‘spirit of our times’. Francesca Alinovi: books, ideas and research

  Federica Muzzarelli

  389-398

  https://doi.org/10.13138/2039-2362/5262

  • PDF (Italiano)

• Lucia Spadano, art critic and journalist, founder of the magazine «Segno»

  Maria Letizia Paiato

  399-414

  https://doi.org/10.13138/2039-2362/5263

  • PDF (Italiano)

• A life dedicated to the Age of Enlightenment: Elisa Debenedetti, between research and teaching

  Rita Randolfi

  415-440

  https://doi.org/10.13138/2039-2362/5264

  • PDF (Italiano)

• Simona Weller’s critical work in support of female artists

  Angela Maderna

  441-448

  https://doi.org/10.13138/2039-2362/5265

  • PDF (Italiano)

• Jole de Sanna, a historian and activist art critic in Milan in the 1970s

  Irene Boyer

  449-466

  https://doi.org/10.13138/2039-2362/5266

  • PDF (Italiano)

• ‘The Lady of the Springs’. Paola Barocchi and the Memofonte Foundation

  Alessia Cecconi, Martina Nastasi

  467-482

  https://doi.org/10.13138/2039-2362/5271

  • PDF (Italiano)

• Between Florence and Genoa: Giusta Nicco Fasola and the Lanzi–Ratti correspondence

  Eliana Carrara

  483-494

  https://doi.org/10.13138/2039-2362/5380

  • PDF (Italiano)

• Giulia Bonarelli Modena: Between Art Criticism and Activism. An Investigation into the Enhancement of Her Museum Bequest

  Caterina Paparello

  495-514

  https://doi.org/10.13138/2039-2362/5388

  • PDF (Italiano)

• From the Central Institute of Restoration to expeditions to Asia with Giuseppe Tucci: restoration in the hands of Franca Callori di Vignale

  Eliana Billi

  515-530

  https://doi.org/10.13138/2039-2362/5268

  • PDF (Italiano)

• Valnea Santa Maria Scrinari and Graziana Del Guercio Barbato. Museum and Territorial Studies in the 1970s in Abruzzo for the Reconnaissance, Cataloguing and Dissemination of the Regional Cultural Heritage

  Marta Vitullo

  531-552

  https://doi.org/10.13138/2039-2362/5236

  • PDF (Italiano)

• Gli esordi di Carla Lonzi: l’informale/Carla Lonzi’s early career: the informal

  Laura Iamurri

  553-560

  https://doi.org/10.13138/2039-2362/4810

  • PDF (Italiano)

• “Chi sa leggere sui vetri della finestra di fronte”? Lea Vergine’s Critical Militancy amid the opacities of the Italian Art System: The Case of Expo Arte 77

  Maria Giovanna Mancini, Valeria Raho

  561-570

  https://doi.org/10.13138/2039-2362/5269

  • PDF

• Angiola Maria Romanini tra magistero, ricerca e grandi imprese / Angiola Maria Romanini between teaching, research and great enterprises

  Anna Maria D'Achille, Marina Righetti

  571-590

  https://doi.org/10.13138/2039-2362/5142

  • PDF (Italiano)

• The Appunti d’arte (1992–2007) Series by Ilisso and the Collaboration between Rossana Bossaglia and Vanna Fois

  Maria Clelia Galassi

  591-598

  https://doi.org/10.13138/2039-2362/5270

  • PDF (Italiano)

• Florence, Turin, and Rome: or how Sandra Pinto achieved her critical model for contemporary art without falling into the “avant-garde trap”

  Laura D'Angelo

  599-610

  https://doi.org/10.13138/2039-2362/5272

  • PDF (Italiano)

• Signs, sounds, words. Carla Vasio’s neo-avant-garde

  Bernardina Sani

  611-620

  https://doi.org/10.13138/2039-2362/5386

  • PDF (Italiano)

• Museology: A History Written (Primarily) by Women. “Textbooks” in Italy in the Second Half of the 20th Century

  Patrizia Dragoni

  621-641

  https://doi.org/10.13138/2039-2362/5180

  • PDF (Italiano)