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Book received: Gasparri on Byzantine art historiography in Italy

11 September 2015

viella
NOVITÀ LUGLIO 2015
Giovanni Gasbarri
Riscoprire Bisanzio
Lo studio dell’arte bizantina a Roma e in Italia
tra Ottocento e Novecento
Preface by Xavier Barral i Altet
series: I libri di Viella. Arte
2015, 17×24 cm, 312 pp., ill.
ISBN 978-88-6728-399-6
€ 32,00

This book provides an innovative contribution to the history of art historiography on
Byzantine art, by focusing on the research carried out in Italy – and in Rome in particular –
between the 19th and the 20th centuries. Taking into consideration the development of
Byzantine studies in Europe approximately between 1870 and 1930, the author analyses
extensive archival material and secondary literature in order to retrace the process which led
to Byzantine art becoming a distinct field of research in Italy.
In conjunction with Italian unification (1861) and the appointment of Rome as the capital of
a new-born state (1871), the city had rapidly become an important centre for the study of
postclassical art, which often included Byzantine art too. As the living heart of the catholic
Church, and as a point of reference for a wide milieu of scholars and collectors from all over
Europe, in those years Rome was characterised by a lively yet ambiguous intellectual
environment, which was suspended between a dynamic openness to the international cultural
scenario and some significant outbursts of nationalism and confessionalism. Each of the six
chapters of this book examines a specific aspect of such complex situation, and emphasizes
the role played by the Italians – as well as by the rich international community working in
Rome and in Italy – in the scholarly rediscovery of Byzantine art at the turn of the 20th century.
Giovanni Gasbarri is Ph.D. in History of Art and Teaching Fellow at Sapienza University
of Rome. He has worked extensively on Byzantine illuminated manuscripts and sumptuary
arts, as well as on Byzantine and Norman art in southern Italy. More recently, he has focused
in particular on the history of collecting, the art press, and the history of art historiography
between the 19th and the 20th centuries.

  • Prefazione di Xavier Barral i Altet
  • Introduzione
  • I. Di ritorno alla Prima Roma. L’arte bizantina nelle ricerche della scuola romana di archeologia cristiana
    • 1. Giovanni Battista de Rossi e l’origine della scuola romana
    • 2. Raffaele Garrucci e la Storia dell’Arte Cristiana nei primi otto secoli della Chiesa
    • 3. Nuove forze in campo: la scuola romana alla fine dell’Ottocento
    • 4. Uno sguardo verso Est: la Questione d’Oriente
    • 5. Alla scoperta di Roma bizantina: Louis Duchesne e Hartmann Grisar
  • II. Cristiano, longobardo o bizantino? Una parentesi sul falso d’arte tra Roma, l’Italia e l’Europa
    • 1. Il falso “bizantino”: un quadro da ricostruire
    • 2. Lo scenario romano: bizantinismi inconsapevoli
  • III. L’arte bizantina e l’Italia. L’editoria storico-artistica a Roma tra Ottocento e Novecento
    • 1. Prospettive venturiane su Bisanzio. Gli anni dell’«Archivio Storico dell’Arte» (1888-1898)
    • 2. Attraverso «L’Arte»: il panorama editoriale a cavallo tra i due secoli
    • 3. Una relazione complicata: Bisanzio nella Storia dell’Arte Italiana di Adolfo Venturi
  • IV. La Bisanzio temporanea. I congressi, le mostre e l’esposizione di Grottaferrata
    • 1. Fra orientalisti, archeologi e storici dell’arte
    • 2. Bisanzio in vetrina: Orvieto, Torino, Siena
    • 3. Un caso di studio: l’Esposizione di Arte Italo-Bizantina a Grottaferrata (1905-1906)
  • V. Ritratto di un bizantinista da giovane: Antonio Muñoz
    • 1. Un debutto sotto il segno di Bisanzio
    • 2. Al centro del dibattito: mosaici, manoscritti e questioni di metodo
    • 3. Ritorno all’ordine? Antonio Muñoz dagli anni Dieci agli anni Trenta
  • VI. Forme d’Oriente dal sottosuolo. La lunga strada verso la riscoperta della Roma bizantina
    • 1. Sorprese dagli scavi: i cantieri di S. Saba e di S. Maria Antiqua
    • 2. Enigmi iconografici e ricostruzioni virtuali: gli studi archeologici
    • 3. Un nuovo protagonista sulla scena: Wladimir De Grüneisen
  • Epilogo: verso gli anni Trenta
  • Bibliografia
  • Indice dei nomi

Link to publisher’s website

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