Figure <p><strong>Figure – ISSN 2283-9348</strong> publishes articles on arts from historical, critical, theoretical and methodological perspectives</p> en-US <div><a href="" rel="license"><img src="" alt="Creative Commons License" /></a></div><p>This journal is licensed under a <a href="" rel="license">Creative Commons Attribution 3.0 Unported License</a> (<a href="">full legal code</a>).</p> (Chiara Tartarini) (OJS Support) Mon, 04 Nov 2019 00:00:00 +0100 OJS 60 Facing Botticelli: three studies on the significant detail <p>These texts are the results of a seminar organised and coordinated by Marzia Faietti at Gallerie degli Uffizi (a.a. 2016-2017). During these lectures, particular attention was payed to meaningful details in some famous Botticelli’s paintings. Valentina Saetti’s text analyses <em>Madonna of the Magnificat</em>, Amalda Ciani Cuka’s <em>St.Augustin in his study</em> and Tiziana Borea’s the<em> Calumny of Apelles</em>.</p> Marzia Faietti, Tiziana Borea, Amalda Ciani Cuka, Valentina Saetti Copyright (c) 2019 Marzia Faietti, Tiziana Borea, Amalda Ciani Cuka, Valentina Saetti Mon, 04 Nov 2019 00:00:00 +0100 From private collections to public institutions These texts are the result of <em>Museology and collection studies</em> course held by Marinella Pigozzi (a.a. 2017-18). They are about artworks from different collections, and proof the diversity of history of collecting approaches and sources. Texts by: Alex Barbanti, Giulia Calì, Ilenia Carozza, Ilaria Chia, Laura Coppa, Annapaola Di Maio, Cristina Elia, Chiara Forconi, Federica Gamba, Alessandra Lisbona, Marida Mariano, Serena Mauro, Francesca Passerini, Leonardo Regano, Guicciardo Sassoli de’ Bianchi Strozzi, Ilaria Siboni, Sara Zugni. Marinella Pigozzi, Chiara Tartarini, Alex Barbanti, Giulia Calì, Ilenia Carrozza, Ilaria Chia, Laura Coppa, Annapaola Di Maio, Cristina Elia, Chiara Forconi, Federica Gamba, Alessandra Lisbona, Marida Mariano, Serena Mauro, Francesca Passerini, Guicciardo Sassoli de' Bianchi Strozzi, Ilaria Siboni, Sara Zugni Copyright (c) 2019 Marinella Pigozzi Mon, 04 Nov 2019 00:00:00 +0100 A new introduction to the artist Pier Francesco Cavazza (1677-1733) <p>The article represents a first step to cast new light on such a controversial and eclectic figure as Pier Francesco Cavazza (1677- 1733) who lived and worked in his historical and cultural context as a real protagonist and then was quickly forgotten. As well as a print collector – an activity for which he is most frequently mentioned – he was also a painter: in particular, this text takes into consideration his copy of <em>Pallione della Peste</em> by Guido Reni and his two original artworks which have come to our days.</p> Tiziana Borea Copyright (c) 2019 Tiziana Borea Mon, 04 Nov 2019 00:00:00 +0100 Project Unité in Firminy. Art in the Urban and Architectural Device <p>“Project Unité” is an exhibition held in the summer of 1993 in the south of France in one of the most representative buildings of the last period of Le Corbusier, the housing complex of Firminy-Vert. It is the first attempt to bring together artists of different generations, backgrounds and education, united by the inclination towards participatory art practices of social interest.</p><p> </p> Lara De Lena Copyright (c) 2019 Lara De Lena Mon, 04 Nov 2019 00:00:00 +0100 The museum as "weapon". Some considerations on Meschac Gaba’s Museum of Contemporary African Art <p>The article explores some aspects of the in progress and itinerant artwork of the Beninese artist Meschac Gaba <em>Museum of Contemporary African Art</em> (1997-2002), revisiting the genesis, development and critical reception, until its problematic entrance, in 2013, in the Tate’s art collection.</p> Domenico Esposito Copyright (c) 2019 Domenico Esposito Mon, 04 Nov 2019 00:00:00 +0100 Fortune of Orpheus myth in Florence between the 16th and the 17th centuries <p>The paper analyses the reception of the Orpheus’ myth in Florence between the 16th and the 17th centuries, through public and private commissions that give evidence of its vitality, its symbolic value and its originality: a victorious hero for Rinuccini; a sign of Jacopo Corsi’s wealth and of the proximity to the Medici of the sponsor of Francqueville; a simple supporting role, in 1608, in Cosimo II wedding celebrations.</p> Cristina Lopresti Copyright (c) 2019 Cristina Lopresti Mon, 04 Nov 2019 00:00:00 +0100 Joaquín Inza: honorary academic at the Accademia Clementina <p>The study investigates the spanish painter Joaquín Inza (1736-1811), portraitist of Charles III, and pay special attention to his short-term italian stay towards the end of 1778. This stay is witnessed by two unpublished documents. The first consists in a piece of news published in the <em>Gazzetta di Parma</em> on 28 February 1779. Conversely, the second is his appointment as an honorary academic at the <em>Accademia Clementina</em> in Bologna. To these documents must be added the discovery of a portrait of Charles III preserved at the <em>Real Collegio di Spagna</em> in Bologna. The portrait, always kept in the College, since the time of his commission, represents an important figurative testimony of this painter’s italian passage, so far devoid of known pictorial documents.</p> Nadia Nached Prieto Copyright (c) 2019 Nadia Nached Prieto Mon, 04 Nov 2019 00:00:00 +0100 Losing, looking for and finding each other again. The visual diary of Anna Di Prospero between reality and immaginary <span class="Carpredefinitoparagrafo1"><span lang="EN-GB">Losing, looking for and finding each other again through the photographic objective, recalling familiar and foreign places and relationships, unconscious and secret imaginary: this is the <em>fil rouge</em> of the self-portraits of Anna Di Prospero, whose photographic production has been analyzed in the "thesis of Specialization" from which this article is taken.</span></span> Ilaria Schipani Copyright (c) 2019 Ilaria Schipani Mon, 04 Nov 2019 00:00:00 +0100 Reimagining the Museum: experimental practices in digital media in the years 2010-2015 The web 2.0 and the new IT and communication technologies can, and are already integrated in museums. These technologies renew interaction and offer new opportunities for the development and the customization of the experience inside and outside the museum. The examples displayed in this paper show how new technologies amplify and diversify the public audience, at times even improving the quality of their experience. The aim is to bring the user closer to the historical and artistic evidence of our past and our present in the web 2.0 era while creating a cultural consciousness. The unlimited connectivity of new devices can effectively facilitate full accessibility of the contents in our hyper-connected society. Francesca Sinigaglia Copyright (c) 2019 Francesca Sinigaglia Mon, 04 Nov 2019 00:00:00 +0100 Raffaele Belluzzi’s first photographic album. First studies: competitions and public collections <p>The first of three photographic albums left by Raffaele Belluzzi (1839-1903) to the Museum of Italian Risorgimento in Bologna – <em>The art in Bologna in the second half of the 19th century. Photos collected by Raffaele Belluzzi (Part 1 - Painting.)</em> – even if it is often mentioned as a source, was never neither published nor studied in its entirety. This article wants to highlight some peculiar aspects of this legacy, analyzing a first group of works presented in academic and municipal competitions, or in events promoted by private cultural associations, and still in possession of public institutions.</p> Isabella Stancari Copyright (c) 2019 Isabella Stancari Mon, 04 Nov 2019 00:00:00 +0100 Carla Cerati’s photographic essays <p>This paper aims to focus on the early years of Cerati’s career as a freelance photographer. The time span taken into consideration goes from 1962 to 1974, a decade during which the photographer portrayed with her camera the important economical, social and cultural changes occurred in a crucial moment for Italian political history.</p> Claudia Stritof Copyright (c) 2019 Claudia Stritof Mon, 04 Nov 2019 00:00:00 +0100 A case study of public art: Flavio Favelli and the wall painting Luigi Marulla in Cosenza <p>The wall painting created by the artist Flavio Favelli in 2015 in the city center of Cosenza dedicated to the prematurely died footballer, Luigi Marulla, represents an emblematic case study through which it is possible to reflect on the complicated and sensitive subjects that art involves for and in the public space.</p> Valentina Elvira Tebala Copyright (c) 2019 Valentina Elvira Tebala Mon, 04 Nov 2019 00:00:00 +0100