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

Downloads

Pubblicato

2016-12-12

Fascicolo

Sezione

Musei e mostre tra le due Guerre: Saggi

DOI:

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

Autori

  • Kate Kangaslahti KU Leuven Faculty of Arts Research Unit: Cultural History Since 1750

Abstract

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.

 

Riferimenti bibliografici

A Gratifi ed Italian Press (1930), «The Times», 3 January, p. 9.

Affron M. (1997), Waldemar George: A Parisian Art Critic on Modernism and Fascism, in Fascist Visions: Art and Ideology in France and Italy, edited by M. Affron, M. Antliff, Princeton: Princeton University Press, pp. 171-204.

Agosti G. (1996), La nascita della storia dell’arte in Italia. Adolfo Venturi dal museo all’Università, Venezia: Marsilio.

Anderson B. (1983), Imagined Communities: Refl ections on the Origin and Spread of Nationalism, London: Verso.

Aronsson P., Elgenius G., edited by (2015), National Museums and Nation- Building in Europe, 1750-2010: Mobilization and Legitimacy, Continuity and Change, Abingdon, Oxon: Routledge.

Baisse P. (2008), Courajod et le problème de la Renaissance, in Histoire de l’histoire de l’art en France au XIXe siècle, edited by R. Recht, C. Barbillon, F.R. Martin, Paris: La Documentation française, pp. 95-112.

Balniel Lord, Clark K., edited by (1931), A Commemorative Catalogue of the Exhibition of Italian Art held in the galleries of the Royal academy, Burlington House, London, January-March, 1930, London: Oxford University Press and Humphrey Milford.

Bann S. (1984), The Clothing of Clio: A Study of the Representation of History in Nineteenth-Century Britain and France, Cambridge: Cambridge University Press.

Barotte R. (1937), Six siècle d’art français de Fouquet à Cézanne sont évoqués à l’Exposition, «Paris-soir», 25 June, p. 7.

Bazin G. (1931), L’Exposition d’Art français à Londres, «Formes», n. 20, December, pp. 163-164.

Bazin G. (1937), Notices. La Rétrospective d’art français, «L’Amour de l’art», XVIII, n. 5, May, pp. 2-45.

Bennett T. (1995), The Birth of the Museum: History, Theory, Politics, London: Routledge.

Berenson B. (1894), The Venetian Painters of the Renaissance, with an Index to their Works, New York-London: G.P. Putnam’s Sons.

Bernard P., Dubief H. (1985), The Decline of the Third Republic: 1914-1938, translated by A. Forster, Cambridge: Cambridge University Press.

Besson G. (1935), L’Exposition d’Art Italien, «Monde», 6 June, p. 4.

Besson G. (1937), Une Exposition unique de chefs-d’oeuvre, «L’Humanité», 10 July, p. 8.

Black J. (2003), Italy and the Grand Tour, New Haven: Yale University Press.

Blunt A. (1967), Nicolas Poussin, New York: Bollingen Foundation.

Bonnaffé E. (1875), Maître Pihourt et ses hétéroclites, «Gazette des beauxarts», n. 11, pp. 393-403.

Borghi B.C. (2011), Una “signifi cant form” svelata. L’allestimento della mostra “Italian Art” alla Royal Academy nella Londra del 1930, «Altre Modernità», n. 5, pp. 13-25.

Borletti S. (1935), L’Exposition d’art italien à Paris, «La Renaissance», vol. 18, nn. 4-5-6, pp. 3-5.

Bouchot H. (1904), Les Primitifs français, 1292-1500. Complément documentaire au catalogue offi ciel de l’exposition, Paris: Librairie de l’art ancien et moderne.

Boulder W. (1937), Exhibition of French Masterpieces, «London Studio», vol. 114, November, p. 3.

Bouyer R. (1937), L’art à l’Exposition de 1937. Chefs-d’oeuvre de l’Art français, «Revue de l’art ancien et moderne», vol. 71, September, pp. 163-168.

Braun E. (2005), Leonardo’s Smile, in Donatello among the Blackshirts: The Visual Culture of Fascist Italy, edited by C. Lazzaro, R. Crum, Ithaca: Cornell University Press, pp. 173-186.

Bresc-Bautier G. (2008), “La bataille dure encore entre les Pontifes de l’Antiquité et les Paladins du Moyen Âge”: la querelle de la “Première Renaissance française”, in Histoire de l’histoire de l’art en France au XIXe siècle, edited by R. Recht, C. Barbillon, F.-R. Martin, Paris: La Documentation française, pp. 69-94.

Brinton S.J.C. (1930), Italian Masters in London, «American Magazine of Art», vol. 21, April, pp. 185-194.

British Debt to Italian Art (1930), «The Times», 18 January, p. 7.

Bromberger M. (1935), La merveilleuse Exposition d’art italien sera inaugurée jeudi, «L’Intransigeant», 14 May, p. 1.

Brousson J.-J. (1935), M. Albert Lebrun inaugure l’Exposition d’art italien, «L’Intransigeant», 17 May, pp. 1-2.

Burgwyn H.J. (1997), Italian Foreign Policy in the Interwar Period, 1918-1940, Westport CT: Praeger Publishers.

Burnand R. (1937), La rétrospective de l’art français, «L’Illustration», 29 May (supplement), n.p. Canali F., a cura di (2008), Ugo Ojetti (1871-1946) critico: tra architettura e arte, Florence: Alinea.

Chefs d’oeuvre de l’art français (1937), exhibition catalogue, Paris: Palais National des arts.

Chevrefi ls Desbiolles Y. (2008), La critique d’art Waldemar-George. Les paradoxes d’un non-conformiste, «Archives Juives», Vol. 41, n. 2, pp. 101-117.

Chevrefi ls Desbiolles Y. (2014), Les Revues d’art à Paris (1905-1940), Aix-en-Provence: Presses de l’université de Provence.

Clark K. (1930), Italian Drawings at Burlington House, «The Burlington Magazine for Connoisseurs», Vol. 56, n. 325, pp. 174-187.

Clark K. (1974), Another Part of the Wood: a Self-Portrait, London: John Murray Publishers.

Commemorative Catalogue of the Exhibition of French Art, 1200-1900 (1933), London: Oxford University Press and Humphrey Milford.

Courajod L. (1901), Leçons professées à l’école du Louvre, 1887-1896. Publiées par MM. Henry Lemmonier et André Michel, vol. II, Les origines de la Renaissance, Paris: Picard.

Crum R. (2005), Shaping the Fascist “New Man”: Donatello’s St George and Mussolini’s Appropriated Renaissance of the Italian Nation, in Donatello among the Blackshirts: The Visual Culture of Fascist Italy, edited by C. Lazzaro, R. Crum, Ithaca: Cornell University Press, pp. 133-144.

Cumming R., edited by (2015), My Dear BB. The Letters of Bernard Berenson and Kenneth Clark, 1925-1959, New Haven-London: Yale University Press.

Decleva E. (1986), Relazioni culturali e propaganda negli anni ’30: I comitati “France-Italie” et “Italia-Francia”, in Duroselle, Serra (1986), pp. 108-157.

Decleva E., Milza P., edited by (1996), La Francia e l’Italia negli anni venti: tra politica e cultura, Milan: ISPI.

Dei M. (2011), Ojetti e l’Exposition de l’art Italien de Cimabue à Tiepolo di Parigi, «Studi di Memofonte», 6, pp. 81-90.

De Lorenzi G. (2004), Ugo Ojetti critico d’arte: dal “Mazocco” a “Dedalo”, Firenze: Le Lettere.

Dezarrois A. (1932), L’Art français à Londres, «Revue de l’art ancien et moderne», vol. 61, February, pp. 73-104.

Dotti G. (1982), I contenuti culturali di Pan e il giornalismo letargo di Ugo Ojetti, «Accademie e biblioteche d’Italia», vol. 50, pp. 89-97.

Duboscq A. (1930), L’Exposition d’art italien de Londres, «Revue de l’art ancien et moderne», vol. 57, February, pp. 92-94.

Ducci A. (2012), Europe and the Artistic Patrimony of the Interwar Period: The International Institute of Intellectual Cooperation at the League of Nations, in Europe in Crisis: Intellectuals and the European Idea, 1917-1957, edited by M. Hewitson, M. D’Auria, New York-Oxford: Berghan Books, pp. 227-242.

Ducci A. (2015), L’esposizione “Chefs d’oeuvre de l’art français” (1937) e l’Italia: l’ostracismo del silenzio e due eccezioni, «Annali di Critica d’Arte», XI, pp. 381-425.

Du Colombier P. (1932), Le XVIIe siècle, «Gazette des beaux-arts», 74, January, pp. 39-53.

Du Colombier P. (1937a), Chefs-d’oeuvre de l’art français, «Candide», 1 July, p. 7.

Du Colombier P. (1937b), À travers l’Exposition, «Candide», 22 July, pp. 7-10.

Duncan C., Wallach A. (1980), The Universal Survey Museum, «Art History», Vol. 3, n. 4, December, pp. 448-469.

Duroselle J.-B. (1979), La Décadence, 1932-1939, Paris: Imprimerie Nationale.

Duroselle J.-B., Serra E., a cura di (1981), Italia e Francia dal 1919 al 1939, Milano: ISPI.

Duroselle J. B., Serra E., a cura di (1986), Il vincolo culturale tra Italia e Francia negli anni Trenta e Quaranta, Milano: Franco Angeli.

Earp T. W. (1930), The Italian Exhibition, «The New Statesman», Vol. XXXIV, n. 871, 4 January, pp. 414-415.

Edwards P. (1971), The Austen Chamberlain-Mussolini Meetings, «The Historical Journal», vol. 14, n. 1, March, pp. 153-164.

Elam C. (2003), A More and More Important Work: Roger Fry and The Burlington Magazine, «The Burlington Magazine», vol. 145, n. 1200, March, pp. 142-152.

English Art for Rome. Suggested Return Exhibition (1930), «The Times», 31 March, p. 9.

Enquête sur l’art français (1931), «Formes», No. 20, December, pp. 180-194. Exhibition of French Art, 1200-1900 (1932), exhibition catalogue, London: Royal Academy.

Exhibition of Italian Art, 1200-1900 (1930), exhibition catalogue, London: Royal Academy.

Exhibition of Italian Art. Date fi xed for 1930 (1929), «The Times», 17 May, p. 17.

Exposition de l’Art italien de Cimabue à Tiepolo (1935), exhibition catalogue, Paris: Petit Palais.

Faure E. (1937), Splendeurs de l’art français, «L’Humanité», 10 July, p. 8.

Ferguson B.W. (1996), Exhibition Rhetorics: Material Speech and Utter Sense in Thinking About Exhibitions, edited by R. Greenberg, B.W. Ferguson, S. Nairne, Abingdon, Oxon: Routledge, pp. 175-190.

Focillon H. (1927), L’oeuvre de coopération intellectuelle et l’Office International des Musées, «Mouseion», n. 1, April, pp. 3-10.

Fraixe C. (2014a), L’art au service de la propagande fasciste. Les dons d’oeuvres italiennes à la France (1932-1936), in Vers une Europe latine. Acteurs et enjeux des échanges culturels entre la France et l’Italie fasciste, edited by C. Fraixe, L. Piccioni, C. Poupault, Bruxelles: Peter Lang; Paris: INHA, pp. 195-224.

Fraixe C. (2014b), Waldemar-George et “l’art européen”, in Vers une Europe latine. Acteurs et enjeux des échanges culturels entre la France et l’Italie fasciste, edited by C. Fraixe, L. Piccioni, C. Poupault, Bruxelles: Peter Lang; Paris: INHA, pp. 143-161.

Fraixe C., Poupault C. (2014), Introduction, in Vers une Europe latine. Acteurs et enjeux des échanges culturels entre la France et l’Italie fasciste, edited by C. Fraixe, L. Piccioni, C. Poupault, Bruxelles: Peter Lang; Paris: INHA, pp. 11-30.

French Art at Burlington House (1931), «The Times», 18 December, p. 13.

French Art Exhibition. Members of Committees (1931), «The Times», 30 July, p. 10.

Fry R. (1930), Notes on the Italian Exhibition at Burlington House (II), «The Burlington Magazine», vol. 56, n. 324, March, pp. 128-137.

Fry R. (1931), Quelques réflexions sur l’art français, «Formes», n. 20, December, pp. 176-177. Friedländer M. (1932), Die Ausstellung französischer Kunst in London, «Zeitschrift für Kunstgeschichte», vol. 1, n. 1, pp. 12-18.

Gauthier M. (1935), L’École Bolonaise, le Caravage et la suite, «L’Art vivant», n. 193, October, pp. 55-56.

George W. (1931a), Le Gouvernement de la France contre l’art français, «Formes», n. 15, May, p. 74.

George W. (1931b), Défense et illustration de l’art français, «Formes», n. 20, December, pp. 162.

George W. (1931c), L’Esprit francais et la peinture française. En marge de l’exposition d’art français à Londres, Paris: Les Quatres Chemins.

George W. (1935), L’Art italien au XIXe et au XXe siècle, «La Renaissance», Vol. 18, nn. 4-5-6, pp. 57-59.

George W. (1937), L’Art français et l’esprit de suite, «Le Renaissance», vol. 20, nn. 3-4, pp. 3-30.

Georgel P., edited by (2007), Orangerie, 1934: Les “peintres de la réalité”, Paris: Réunion des Musées Nationaux.

Gillet L. (1937), Chefs d’oeuvre de l’art français (I). La peinture, «Revue des deux mondes», vol. 107, n. 15, September, pp. 274-303.

Gobillot R. (1932), L’Exposition de l’Art français à Londres, «L’Art et les artistes», vol. 23, n. 123, January, pp. 109-115.

Golan R. (1995), Modernity and Nostalgia: Art and Politics in France between the Wars, New Haven and London: Yale University Press.

Gossmann L. (1996), Jules Michelet: histoire nationale, biographie, autobiographie, «Littérature», vol. 102, May, pp. 29-54.

Grappe G. (1935), La Peinture vénitienne, «L’Art vivant», n. 193, October, pp. 51-54.

Greenhalgh P. (1988), Ephemeral Vistas: The Expositions Universelles, the Great Exhibitions and the World’s Fairs, 1851-1939, Manchester: Manchester University Press.

Guenne J. (1932), La vraie tradition de la Peinture française, «L’Art vivant», n. 156, January, pp. 40-45.

Guenne J. (1935), Les visages d’Italie, «L’Art vivant», n. 193, October, p. 40

Guillon P. (1991), L’échec d’un rapprochement franco-italien dans les années 1926-1929, in Diplomazia e storia delle relazioni internazionali. Studi in onore di Enrico Serra, edited by A. Migliazza, E. Decleva. Milan: SPAI, pp. 321-337.

Hale J. (2005), England and the Italian Renaissance: The Growth of Interest in its History and Art, Malden-Oxford: Blackwell Publishing.

Haskell F. (1993), History and its Images, New Haven-London: Yale University Press.

Haskell F. (1999), Botticelli, Fascism and Burlington House: the ‘Italian Exhibition’ of 1930, «The Burlington Magazine», vol. 141, n. 1157, August,pp. 462-472.

Haskell F. (2000), The Ephemeral Museum: Old Master Paintings and the Rise of the Art Exhibition, New Haven-London: Yale University Press.

Hayum A. (2014), The 1902 Exhibition, “Les Primitifs flamands”: Scholarly Fallout and Art Historical Reflections, «Journal of Art Historiography», n. 11, December, pp. 1-20.

Hazard P. (1935), Espoir, «La Renaissance», vol.16, nn. 4-5-6, pp. 7-9.

Herbert J.-D. (1998), Paris 1937: Worlds on Exhibition, Ithaca: Cornell University Press.

Hobsbawm E. (1983), Mass-Producing Tradition: Europe 1870-1914, in The Invention of Tradition, edited by E. Hobsbawm, T. Ranger, Cambridge:Cambridge University Press, pp. 263-307.

Holmes C. (1930), The Italian Exhibition, «The Burlington Magazine», Vol. 56, n. 323, February, pp. 54-72.

Hooper-Greenhill E. (1992), Museums and the Shaping of Knowledge, London: Routledge.

Hourticq L. (1935), L’art italien à Paris, au Petit palais et au Jeu de Paume. L’art ancien, «Revue de l’art ancien et moderne», vol. 68, June, pp. 15-34.

Huisman G. (1937), Préface. La Rétrospective d’art français, «L’Amour de l’art», vol. 18, n. 5, May, p. 1.

Huyghe R. (1932), Le XVIIe siècle, «L’Amour de l’art», vol. 13, n. 1, January, p. 28.

Huyghe R. (1937a), L’Art français, in Cent trente chefs-d’oeuvre de l’Art français du moyen âge au XXe siècle, Paris: Arts et métiers graphiques, pp. 3-4.

Huyghe R. (1937b), Le rôle des musées dans la vie moderne, «Revue des deux mondes», vol. 107, 15 October, pp. 775-789. Iamurri L. (1997), Berenson, la pittura moderna e la nuova critica italiana, «Prospettiva», nn. 87-88, July-October, pp. 69-90.

Iamurri L. (2002), La tradizione, il culto del passato, l’identità nazionale: un’inchiesta sull’arte francese, «Prospettiva», No. 105, January, pp. 86-98.

Iamurri L. (2009), Adolfo Venturi e Bernard Berenson, in Adolfo Venturi e la Storia dell’arte oggi, a cura di M. d’Onofrio, Modena: Franco Cosimo Panini, pp. 187-192.

Iamurri L. (2012), Art History in Italy: Connoisseurship, Academic Scholarship and the Protection of Cultural Heritage, in Art History and Visual Studies in Europe, edited by M. Rampley et al., Leiden-Boston: Brill, pp. 393-406.

Iamurri L. (2014), Lionello Venturi à Paris. Antifascisme et histoire de l’art moderne, in Vers une Europe latine. Acteurs et enjeux des échanges culturels entre la France et l’Italie fasciste, edited by C. Fraixe, L. Piccioni, C. Poupault, Bruxelles: Peter Lang; Paris: INHA, pp. 259-274.

Italian Art: Burlington House Exhibition (1929), «The Times», 13 September, p. 17.

Italian Art Exhibition (1929), «The Times», 4 October, p. 12.

Italian Art in Paris (1935), «The Times», 16 May 1935, p. 14.

Jackson J. (1986), The Politics of Depression in France: 1932-1936, Cambridge: Cambridge University Press.

Jackson J. (1988), The Popular Front in France: Defending Democracy, 1934- 1938, Cambridge: Cambridge University Press.

Jamot P. (1931), French Painting (I), «The Burlington Magazine», vol. 59, n. 345, December, pp. 256-322.

Jamot P. (1932), Two Pictures in the French Art Exhibition, «The Burlington Magazine», vol. 60, n. 349, April, pp. 172-175.

Kangaslahti K. (2006), The Exhibition in Paris in 1937: Art and the Struggle for French Identity, in Nation, Style, Modernism, edited by J. Purchla, W. Tegethof, Cracow: International Cultural Centre; Munich: Zentralinstitut für Kunstgeschichte, pp. 275-288.

Kangaslahti K. (2009), Foreign Artists and the École de Paris: Critical and Institutional Ambivalence between the Wars, in Academics, Pompiers, Officiial Artists and the Arrière-garde: Defi ning Modern and Traditional in France, 1900-1960, edited by N. Adamson, T. Norris, Newcastle: Cambridge Scholars Publishing, pp. 85-111.

Kaplan A. (1986), Reproductions of Banality: Fascism, Literature, and French Intellectual Life, Minneapolis: University of Minnesota Press.

Kaplan F., edited by (1994), Museums and the Making of Ourselves: The Role of Objects in National Identity, London: Leicester University Press.

Kargon R.H., Fiss K., Low M., Molella A.P. (2015), World’s Fairs on the Eve of War: Science, Technology and Modernity, 1937-1942, Pittsburg: University of Pittsburg Press.

Karp I., Lavine S., edited by (1991), Exhibiting Cultures: The Poetics and Politics of Museum Display, Washington D.C.: Smithsonian Institution Press.

Kemp M. (2012), Where next after Leo-mania?, «The Art Newspaper», n. 232, 1 February, p. 36. Knell S., Aronson P., Amundsen A.B., edited by (2011), National Museums: New Studies from Around the World, London and New York: Routledge.

Kott C. (2013), The German Museum Curators and the International Museums Office, 1926-1937, in The Museum is Open: Towards a Transnational History of Museums 1750-1940, edited by A. Meyer, B. Savoy, Berlin: De Gruyter, pp. 205-217.

Labbé E., edited by (1938), Rapport général. Exposition internationale des art et techniques dans la vie moderne, Vol. 4, Paris: Ministère du commerce et de l’industrie, Imprimerie Nationale.

Lassaigne J. (1937), Chronique de l’Exposition: Triomphe de l’art français (I), «La Revue hebdomadaire», 21-28 August, pp. 371-376.

Lazzaro C. (2005), Forging a Visible Fascist Nation: Strategies for Fusing Past and Present, in Donatello among the Blackshirts: The Visual Culture of Fascist Italy, edited by C. Lazzaro, R. Crum, Ithaca: Cornell University Press, pp. 13-31.

L’Art Italien. Chefs-d’oeuvre de la peinture (1935), Paris: Librarie Plon.

L’Art italien des XIXe et XXe siècles (1935), exhibition catalogue, Paris: Musée des écoles étrangères contemporaines.

L’Exposition d’Art français à Londres (1931), «Formes», n. 20, December, p. 144.

L’Exposition d’art italien a été inaugurée hier par M. Lebrun et le comte Ciano (1935), «Le Figaro», 17 May, p. 1 + 4. Lebovics H. (1992), True France: The Wars over Cultural Identity 1900-1945, Ithaca: Cornell University Press.

Lécuyer R. (1937), Treize cents chefs-d’oeuvre de l’art français, «Le Figaro littéraire», 31 July, p. 7.

Lemoine B., edited by (1987), Paris 1937: Cinquantenaire de l’Exposition internationale des arts et techniques dans la vie moderne, Paris: Institut français d’architecture.

Les Deux Aveugles [Raynal et Tériade] (1935), La France donne à l’Italie une leçon de modestie, «La Bête Noire», No. 3, 1 June, p. 5.

Les peintres français devant les maîtres italiens (1935), «Monde», No. 337, 23 May, pp. 6-7.

Lord D. (1937), Chefs-d’oeuvre de l’art français, «The Burlington Magazine», vol. 71, n. 413, August, p. 93.

Lorentz P., Martin F.-R., Thiébaut D., eds (2004), Primitifs français, découvertes et redécouvertes, Paris: Réunion des Musées Nationaux.

Mackowsky H. (1930), Ausstellung italienischer Kunst in London, «Der Cicerone», vol. 22, n. 4, February, pp. 93-104.

Mascarin M. (1935), La grande pitié de l’art en Italie, «Monde», 22 March, p. 4.

Mauclair C. (1935a), L’art italien au Petit palais, «L’Art et les artistes», vol. 30, n. 159 (July), pp. 325-336.

Mauclair C. (1935b), L’art italien des XIXe et XXe siècles au Jeu de Paume, «L’Art et les artistes», vol. 31, n. 161 (November), pp. 51-58.

Mayer A.L. (1930), Grosse und kleine Lehren der italienischen Ausstellung in London, «Pantheon», vol. 5, May, pp. 214-218.

McClellan A. (1994), Inventing the Louvre: Art, Politics, and the Origins of the Modern Museum in Eighteenth-Century Paris, Cambridge: Cambridge University Press.

McMillan J.F. (1992), Twentieth-Century France: French Politics and Society, 1898-1991, London: Edward Arnold.

Meyer A., Savoy B. (2014), Towards a Transnational History of Museums, in The Museum is Open: Towards a Transnational History of Museums 1750- 1940, edited by A. Meyer, B. Savoy, Berlin: De Gruyter, pp. 1-16.

Michaud E. (1996), Nord-Sud. Du nationalisme et du racisme en histoire de l’art. Une anthologie, «Critique», n. 586, March, pp. 163-187.

Michaud E. (2012), Barbarian Invasions and the Racialization of Art History, «October», n. 139, Winter, pp. 59-76.

Michelet J. (1853), Histoire de la Révolution Française, vol. V, Paris: Chamerot.

Miraglio E. (2011), Seicento, Settecento, Ottocento e via dicendo: Ojetti e l’arte figurativa italiana, «Studi di Memofonte», 6, pp. 63-80.

Morowitz L. (2005), Medievalism, Classicism and Nationalism: The Appropriation of the French “Primitifs” in Turn-of-the-Century France, in Nationalism and French Visual Culture, 1870-1914, edited by J. Hargrove, N. McWilliam, New Haven-London: Yale University Press, pp. 224-241.

Mortimer R. (1930), Architecture in the Italian Pictures, «The Architectural Review», LXVII, n. 399, February, pp. 60-68.

Moxey K. (2001), The Practice of Persuasion: Paradox and Power in Art History, Ithaca: Cornell University Press.

Muséographie. Architecture et aménagement des musées d’art. Conférence internationale d’études, Madrid, 1934 (n.d. 1935), vol. 1, [Paris]: Société des nations, Office international des musées, Institut international de coopération intellectuelle.

Nezzo M. (2003a), Critica d’arte in guerra: Ojetti, 1914-1920, Venice: Terra Ferma.

Nezzo M. (2003b), Prodromi a una propaganda di guerra: i rapport Ojetti, «Contemporanea», vol. 6, n. 2, April, pp. 319-342.

Norris T. (2009), Between the Lines: The Juste Milieu in Interwar France, in Academics, Pompiers, Official Artists and the Arrière-garde: Defining Modern and Traditional in France, 1900-1960, edited by N. Adamson, T. Norris, Newcastle: Cambridge Scholars Publishing, pp. 139-167.

Ojetti U. (1921a), Commenti, «Dedalo», I, vol. 3, 1921, p. 690.

Ojetti U. (1921b), Commenti, «Dedalo», II, vol. 1, 1921, p. 148.

Ojetti U. (1935), La mostra al Petit Palais, «Corriere della Sera», 16 May, p. 5.

Ojetti U., Dami L., Tarchiani N. (1924), La Pittura italiana del Seicento e del Settecento alla mostra di Palazzo Pitti, Milan: Bestetti e Tumminelli.

Ory P. (1994), La belle illusion. Culture et politique sous la signe du Front Populaire 1935-1938, Paris: Plon.

Passini M. (2008), L’Italia come problema. La storia dell’arte francese e la questione del Rinascimento, «Annali di critica d’arte», IV, pp. 191-229.

Passini M. (2010a), Louis Dimier, l’Action française et la question de l’art nationale, in Le maurassisme et la culture. L’Action francaise. Culture, société, politique (III), edited by O. Dard, M. Leymarie, N. McWilliam, Villeneuve d’Ascq: Presses Universitaires du Septentrion, pp. 208-218.

Passini M. (2010b), Pour une histoire transnationale des expositions d’art ancien. Les Primitifs exposés à Bruges, Sienne, Pris et Düsselfdorf (1902- 1904), «Intermédialités», n. 15, Printemps, pp. 15-32.

Passini M. (2012), La fabrique de l’art national. Le nationalisme et les origines de l’histoire de l’art en France et en Allemagne (1870-1933), Paris: Maison des Sciences de l’Homme.

Pattinson-Knight H. (1932a), Tout Londres à l’Exposition d’Art français, «L’Intransigeant», 12 January, p. 5.

Pattinson-Knight H. (1932b), Visite à l’Exposition d’Art français. A travers les Salles, «L’Intransigeant», 18 January, p. 5.

Pearce S. (1992), Museums Objects and Collections: A Cultural Study, Washington D.C.: Smithsonian Institution Press.

Pecci Blunt A.-L. (1935), Lettre de Rome: Printemps italo-français, «Le Figaro», 13 May, p. 4.

Piccioni L. (2013), Les enjeux politiques de la réception de l’Impressionnisme dans l’Italie fasciste, «La revue de l’art», n. 179, January, pp. 35-40.

Pomian K. (1994), The Collection: Between the Visible and the Invisible, in Interpreting Objects and Collections, edited by S. M. Pearce, London: Routledge, pp. 160-174.

Pommier E. (2004), Notes sur l’histoire de l’idée latine, in La Latinité en question, Paris: Éditions de l’Institut des Hautes Études de l’Amérique Latine and Union Latine, pp. 19-43.

Poncelet F. (2008), Regards actuels sur la muséographie d’entre-deux-guerres, «CeROArt», n. 2, http://ceroart.revues.org/565, 08.08.2016.

Poulot D. (1997), Musée, Nation, Patrimoine, 1789-1815, Paris: Gallimard.

Poulot D. (2012), Uses of the Past: Historical Narratives and the Museum, in Great Narratives of the Past Traditions and Revisions in National Museums, EuNaMus report n. 4, edited by D. Poulot, F. Bodenstein, J.M. Lanzarote Guiral, Linköping: Linköping University Electronic Press, pp. 1-8.

Poupault C. (2014), Le rapprochement culturel franco-italien et ses enjeux idéologiques (1933-1935), in Vers une Europe latine. Acteurs et enjeux des échanges culturels entre la France et l’Italie fasciste, edited by C. Fraixe, L.

Piccioni, C. Poupault, Bruxelles: Peter Lang; Paris: INHA, pp. 115-130.

Preziosi D. (2003) Brain of the Earth’s Body: Art, Museums, and the Phantasms of Modernity, Minneapolis, University of Minnesota Press.

Rampley M. (2012), The Construction of National Art Histories and the ‘New’ Europe, in Art History and Visual Studies in Europe, edited by Matthew Rampley et al., Leiden-Boston: Brill, pp. 231-246.

Raynal M. (1937), Le XIXe siècle, in Cent trente chefs-d’oeuvre de l’Art français du moyen âge au XXe siècle, Paris: Arts et métiers graphiques, pp. 23-26.

Rebatet L. (1937), Les Chefs-d’oeuvre de l’Art français, «Revue universelle», vol. 70, 15 August, pp. 446-450.

Rey R. (1932), Le génie français et les doctrines d’art, «L’Art vivant», n. 156, January, pp. 49-50.

Rosenberg J. (1932), Die Ausstellungen der Nationen in London, «Kunst und Künstler», vol. 31, January, pp. 6-13.

Salvatore A. (2014), Exposition de l’art italien de Cimabue à Tiepolo, Parigi, Petit Palais, 1935, doctoral dissertation, Università Ca’ Foscari Venezia.

Sarfatti M. (1935), L’ottocento et le novecento, «L’Amour de l’art», XVI, n. 5, May, 1932, p. 190. Schnapper A. (1994), Les “primitifs français” au temps de Léon de Laborde, in Hommage à Michel Laclotte. Études sur la peinture du Moyen Âge et de la Renaissance, edited by P. Rosenberg, C. Scailliérez, D. Thiébaut, Milano: Electa; Paris: Réunion des Musées Nationaux, pp. 538-543.

Secrest M. (1984), Kenneth Clark: A Biography, London: Weidenfeld and Nicolson.

Spalding F. (1980) Roger Fry: Art and Life, Berkeley: University of California Press.

Stephens C., Stonnard J.P., edited by (2014), Kenneth Clark: Looking for Civilisation, London: Tate Publishing.

Sterling C. (1935a), L’exposition de l’art italien au Petit Palais, «Bulletin des Musées de France», vol. 7, n. 5, May, pp. 66-72.

Sterling C. (1935b), Musée de l’Orangerie. L’exposition des peintres de la réalité en France au XVIIe siècle, «Bulletin des Musées de France», vol. 7, n. 1, January, pp. 2-6.

Sweet R. (2012), Cities and the Grand Tour: The British in Italy, c.1690-1820, Cambridge: Cambridge University Press. Tarchiani N. (1935a), L’arte italiana al Petit Palais, «Pan», III, n. 8, August, pp. 550-582.

Tarchiani N. (1935b), L’arte italiana al Petit Palais. La pittura, «Emporium», 82, n. 487, July, pp. 38-55.

The French Art Exhibition. Popular Appeal (1932), «The Times», 2 January, p. 11.

The French Art Exhibition. Second notice (1932), «The Times», 4 January, p. 10.

The Italian Art Exhibition: Opening Dinner, Signor Mussolini’s Message (1930), «The Times», 2 January, p. 14.

The Last of the Italian Pictures (1930), «The Times», 20 March, p. 17.

Tomasella G. (1998), Venezia-Parigi-Venezia. La mostra di arte italiana a Parigi e le presenze francesi alla Biennale di Venezia (1920-1938), in Il Futuro alla spalle. Italia-Francia: l’arte tra le due guerre, edited by F. Pirani, Rome: Edizioni De Luca, pp. 83-93.

Weber E. (1994), The Hollow Years: France in the 1930s, New York-London: W.W. Norton.

Weiser P. (1981), L’Exposition internationale, l’Etat et les beaux-arts, in Paris 1937-Paris 1957: Créations en France, Paris: Centre Georges Pompidou, pp. 56-58.

Wescher P. (1937), Ausstellung Meisterwerke der französischen Kunst im Palais National des arts, Paris, «Pantheon», vol. 20, October, pp. 278-282.

Wierzbicka A. (2010), Appels d’Italie: Waldemar George’s Texts on Art Dating from the Early 1930s, in Reinterpreting the Past: Traditionalist Artistic Trends in Central and Eastern Europe of the 1920s and 1930s, edited by I. Kossowska, Warsaw: Institute of Art of the Polish Academy of Sciences, pp. 65-86. Wilton A., Bignamini I., edited by (1996), Grand Tour: Lure of Italy in the

Eighteenth Century, London: Tate Publishing.

Witt R. (1929), Dutch Art at the Royal Academy [Letter to the Editor], «The Times», 13 February, p. 15.

Young R.J. (2004), An Uncertain Idea of France: Essays and Reminiscence on the Third Republic, New York: Peter Lang.

Zerner H. (1996), L’art de la Renaissance en France. L’invention du classicisme, Paris: Flammarion.

Biografia autore

Kate Kangaslahti, KU Leuven Faculty of Arts Research Unit: Cultural History Since 1750

An Australian scholar based Belgium, Kate Kangaslahti is currently a Research Fellow in the Faculty of Arts at KU Leuven, in the research group “Cultural History since 1750”. She graduated from the University of Melbourne in 1999 with a B.A. (Hons) in Art History and French, before moving to London, to serve as the Sarah and William Holmes Scholar in the Department of Prints and Drawings at the British Museum. Staying on in the United Kingdom, she completed her Ph.D. in the History of Art at the University of Cambridge in 2005. She then moved to Singapore, spending five years as an Assistant Professor of Modern Art History, helping to build the art history programme at the new School of Art, Design, and Media, at Nanyang Technological University. In 2011 she relocated to Brussels with her family. She is researching a book project on the editor and publisher Christian Zervos, focussing upon the iconographical archive of modern art and architecture he compiled and its global diffusion under the cover of his review, Cahiers d’Art. More generally her published research addresses the relationship between art and politics in France in the first half of the twentieth century, with particular reference to cultural constructions of national identity, the role of Museums and exhibitions, the situation of foreign artists practising in France, the art and architecture of the international Expositions and the art press between the wars.

Come citare

Kangaslahti, K. (2016). Painting the National Portrait: Retrospective Exhibitions of French and Italian Art in the 1930s. Il Capitale Culturale. Studies on the Value of Cultural Heritage, (14), 275–345. https://doi.org/10.13138/2039-2362/1385