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Handbook of International Futurism
The Handbook of International Futurism is the first reference work ever to presents in a comparative fashion all media and countries in which the movement, initiated by F.T. Marinetti in 1909, exercised a particularly noteworthy influence. The handbook offers a synthesis of the state of scholarship regarding the international radiation of Futurism and its influence in some fifteen artistic disciplines and thirty-eight countries. While acknowledging the great achievements of the movement in the visual and literary arts of Italy and Russia, it treats Futurism as an international, multidisciplinary phenomenon that left a lasting mark on the manifold artistic manifestations of the early twentiet...
Fascist Modernism in Italy
Between 1917 to 1975 Germany, Italy, Portugal, the Soviet Union, and Spain shifted from liberal parliamentary democracies to authoritarian and totalitarian dictatorships, seeking total control, mass consensus, and the constitution of a 'new man/woman' as the foundation of a modern collective social identity. As they did so these regimes uniformly adopted what we would call a modernist aesthetic – huge-scale experiments in modernism were funded and supported by fascist and totalitarian dictators. Famous examples include Mussolini's New Rome at EUR, or the Stalinist apartment blocks built in urban Russia. Focusing largely on Mussolini's Italy, Francesca Billiani argues that modernity was int...
Flash Art
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Painters of Reality
"Largely as a result of Leonardo's innovative work for the Sforza court in Milan, a rich vein of naturalism developed in North Italian art during the late fifteenth century. Questioning the strongly classicizing, idealized style dominant in areas south of the Apennines, artists in the region of Lombardy turned to an investigation of the natural world based on direct observation and adherence to strict visual truth. This heritage of realism continued to be of key importance for more than two hundred years, finding its greatest expression in the art of Caravaggio and eventually influencing the course of Baroque painting throughout Europe. Religious scenes, portraits, and landscapes were all tr...
Marisa Mori and the Futurists
This book introduces a compelling new personality to the modernist canon, Marisa Mori (1900-1985), who became the only female contributor to The Futurist Cookbook (1932) with her recipe for “Italian Breasts in the Sun.” Providing something more complex than a traditional biographical account, Griffiths presents a feminist critique of Mori's art, converging on issues of gender, culture, and history to offer new critical perspectives on Italian modernism. If subsequently written out of modernist memory, Mori was once at the center of the Futurism movement in Italy; yet she worked outside the major European capitals and fluctuated between traditional figurative subjects and abstract experim...
Visual Poetry
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Educación y didáctica: hacia una ampliación del canon en las aulas
LAS GENERACIONES MEJOR FORMADAS DE LA HISTORIA / Natalia Muñoz MayaLA VISIBILIDAD DE LAS TROIBAIRITZ / Antonia Víñez Sánchez - Juan Sánchez Durán - Inmaculada C. Víñez DazaRECUPERARE SCRITTURE LONTANE: IL BAMBINO DI PIETRA DELLA MAESTRA LAUDOMIA BONANNI / Antonio R. DanieleARTÍCULOS PERIODÍSTICOS DE JOSEFA ALFARO DE OCAMPO EN EL LIBERAL / Wilson-Alfredo VillamilLITERATURA JUVENIL DE MUJERES Y ALTA FANTASÍA DE HOMBRES: DIFERENCIACIÓN DEL PRESTIGIO SEGÚN EL GÉNERO EN EL SIGLO XXI / María Toledo EscobarLA EVOLUCIÓN DEL PENSAMIENTO EDUCATIVO DE LAS MUJERES EN CHINA MODERNA / Wanruo LuoEL PAPEL DE LA MUJER EN LA LITERATURA JUVENIL CONTEMPORÁNEA: ANÁLISIS DE LOS PERSONAJES DE LAU...
La cercatrice del meraviglioso: Vita e opere di Dorothea Tanning, l’ultima surrealista
Esistono porte nella vita che è meglio non aprire. Ma Dorothea Tanning non era una donna qualsiasi. Come una novella Alice, ha spalancato ogni porta, varcando la soglia e immergendosi in un universo di arte, letteratura e poesia. Per anni, è stata riconosciuta solo come la “moglie di Max Ernst”, un’etichetta che soffocava la sua individualità e il suo immenso talento. Non era infatti una musa, una strega o una femme fatale, bensì una Cercatrice che ha infranto lo specchio della realtà, lasciando un segno indelebile nel movimento surrealista. Le sue tele oniriche, le sculture morbide e sensuali, le poesie e i testi letterari sono un invito a esplorare l’ignoto e a varcare la soglia del Meraviglioso che si nasconde dietro l’ordinario.
