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The reimagination of Baroque sculpture during Fascism
Laura Moure Cecchini

6.2 Detail of Gianlorenzo Bernini, Ecstasy of Saint Teresa , 1647–1652 Secondly, the Argentine-Italian artist Lucio Fontana's The Baroque Chair (1946). This sculpture of an imposing, seated figure was executed in Buenos Aires in the same year as the publication of the Manifiesto Blanco ( White Manifesto ), a text co-written by Fontana and his students that heralded a new synthesis of space, time, colour, sound

in Baroquemania
Abstract only
Italian visual culture and the construction of national identity, 1898–1945

Imagined Baroques offers a new account of Italian post-unification visual culture through its entanglement in the Baroque. The book argues that, by reinventing Baroque forms in their artistic and architectural practices, modern Italians confronted their fears about their nation’s past and imagined future. Although ignored by most scholarship, the Baroque was repeatedly evoked in modern Italian visual culture and intellectual history. This is so because, between the fin de siècle and the end of the Second World War, the reception, influence, and disavowal of the Baroque enabled Italians to probe the fraught experience of national unification, addressing their ambivalent relationship with modernity and tradition. The Baroque afterlives in modern Italy, and its temporal and conceptual destabilisation, allowed Italians to work through a crisis of modernity and develop a visual culture that was both distinctly Italian and modern. Imagined Baroques interrogates a diverse range of media: not only paintings, sculptures, and buildings, but also magazine illustrations, postcards, commercial posters, pageants, photographs, films, and exhibitions. The Baroque functioned in post-unification Italy as a legacy of potential annihilation but also of potential consolidation, and as a critique of modernity and a celebration of an intrinsically Italian road to modernity. Unearthing the protean and contradictory legacy of the Baroque in modern Italy shows that its revivals and appropriations were not repositories of exact facts about the seventeenth century but rather clues to how visions of modernity and tradition merged to form a distinct Italian identity.

Luca Buvoli and the legacy of Futurism
Elisa Sai

legacy of Futurism is extraordinary. In Milan, the last room of the exhibition Futurismo 1909–2009 was entitled The Legacy of Futurism and included works of postwar Italian artists such as Lucio Fontana, Alberto Burri, Piero Dorazio and Mario Schifano (Lista and Masoero 2009). In her study of the reappraisal of the Baroque by some contemporary artists, Mieke Bal suggests that the artistic engagement with an earlier period can expose contemporary concerns and concurrently Adamowicz and Storchi, Back to the Furutists.indd 284 01/11/2013 10:58:55 A Very Beautiful Day

in Back to the Futurists
Abstract only
Laura Moure Cecchini

. Finally Chapter 6 compares the 1930s and 1940s reception of Adolfo Wildt's and Lucio Fontana's work as examples of the Baroque, studying how it reveals crucial shifts in the style's interpretation. Wildt's work – inspired by Michelangelo and Bernini, but also by German symbolism – was seen as Baroque in so far as seventeenth-century art was perceived as addressing the disciplining of matter through technical prowess. By contrast, in the reception of Fontana's amorphous ceramic and maiolica sculptures of the interwar period the Baroque signified a clear-eyed engagement

in Baroquemania
Alexander Calder, David Smith, and Robert Smithson in Italy
Marin R. Sullivan

, Harold B. Cousins*, Wessel Couzijn, Dusan Dzamonja, Kosso Eloul, Herbert Ferber*, Lucio Fontana, Nino Franchina, Franco Garelli, Quinto Ghermandi, Emile Gilioli, Shamaï Haber, Otto Herbert Hajek, Rudolf Hoflehner, Robert Jacobsen, Berto Lardera, Henri Laurens, Leoncillo, Jacques Lipchitz*, Seymour Lipton*, Carlo Lorenzetti, Giacomo Manzù, Marino Marini

in Republics and empires
Daniel Dezeuze and China from scroll to (TV) screen
Sarah Wilson

modernists: Cézanne, Malevich and the trio Jackson Pollock, Lucio Fontana and Simon Hantaï. Like the early Fauves and Cubists – above all Matisse, whose Grand Palais retrospective dominated exhibitions of 1970 – the Supports/Surfaces artists enjoyed a ‘bipolar’ positioning between Paris and the south. Metropolitan imperatives were abandoned with their Travaux d’été (Summer works) of 1970, shown in Paris in the autumn. Freed from museums, retrospectives and intellectual competitions, abstract or structuralist discourses were now challenged by the robinsonnade: the play on

in Art, Global Maoism and the Chinese Cultural Revolution
Apollinaire in Freddy de Vree’s multilingual radiophonic composition A Pollen in the Air
Lars Bernaerts

” of color in favor of the pure materiality of color’ ( 1986 : 44), which occurred in the historical avant-garde – in the work of Rodchenko and Malevich – and again in the neo-avant-garde. We can think of Yves Klein, Lucio Fontana or Robert Rauschenberg. Yves Klein’s blue paintings are not the redundant and etiolated repetition of the historical avant-garde, but a new, powerful statement in a postwar world where painting ‘had already become subservient to the conditions of the culture industry’ ( 1986 : 50), as Buchloh argues. The same strategy of monochromy

in Tuning in to the neo-avant-garde
Demy’s musicals
Darren Waldron

that ‘Braque, Picasso, Klee, Miró, Matisse’ are life itself. Evein used the pastel palette of Dufy paintings as inspiration for his transformation of the Rochefort townscape, which is juxtaposed with the colder, avant-garde art that hangs in Guillaume’s gallery, inspired by the works of Niki de Saint Phalle, Alexander Calder, Auguste Herbin, Georges Mathieu, Jean Dewasne, Yves Klein and Lucio Fontana (Joséphine Jibokji Frizon, 2013: 99). The accessible is preferred over the abstruse. Although normally an abstract painter, Maxime’s portrait of his ideal woman is

in Jacques Demy
Angela Harutyunyan

). According to Azatyan, Avetisyan’s works strives towards immateriality while at the same time reinserting the materiality of the body into the artwork: while producing ripped canvases à la Lucio Fontana for the exhibition Graffiti in 1992, Avetisyan also performed his action Fixing of Light in 1994, thus stressing the privilege of the immaterial gesture over its material and bodily counterpart.39 The exhibition Azatyan curated presented these two tendencies not so much as extravagant exceptions but rather as patterns that were paradigmatic for post-Soviet artistic

in The political aesthetics of the Armenian avant-garde