Exhibition catalogues by Anita Viola Sganzerla
Connecting Worlds: Artists & Travel, 2023
Stephanie Buck and Anita V. Sganzerla, eds., Connecting Worlds: Artists & Travel, exh. cat. Staat... more Stephanie Buck and Anita V. Sganzerla, eds., Connecting Worlds: Artists & Travel, exh. cat. Staatliche Kunstsammlungen Dresden, Kupferstich-Kabinett, Paul Holberton Publishing, London, 2023
This fascinating catalogue explores the theme of artists and travel and showcases over 100 drawings and prints. It accompanies Connecting Worlds: Artists & Travel, which is the first exhibition to approach the subject through the lens of artists’ experiences of travel from the Renaissance to the nineteenth century.
Deanna Petherbridge and Anita V. Sganzerla, Artists at Work, exhibition catalogue, The Courtauld Gallery, London, 2018
Artists have long taken pleasure in representing themselves at work, in their studios or academie... more Artists have long taken pleasure in representing themselves at work, in their studios or academies, out and about in a landscape or recording their own likeness. Immersed in nature, artists are often shown almost lost in the geographical vastness they are recording. Depictions of the artist in
the studio are about creative concentration
and introspection and, like self-portraits, are reflections on practice and identity. The care taken in recording the studio apparatus of easels, palettes, or assistants grinding pigments, indicates their significance for practitioners. The studio might be the everyday workshop of dirty brushes and sculptural debris, but it is also the place of allegory and myth where artists perform or dream. A selection of drawings from the sixteenth to
the twentieth century, mainly from the Katrin Bellinger Collection, illustrates the variety of ways in which artists have represented themselves and others making art.
Books by Anita Viola Sganzerla
Lo storico dell’arte Luigi Salerno, già nei primi anni settanta del ‘900, individuava una “corren... more Lo storico dell’arte Luigi Salerno, già nei primi anni settanta del ‘900, individuava una “corrente del dissenso” in seno alla pittura ufficiale del Barocco. Secondo lo studioso la produzione di artisti quali Nicolas Poussin, Pietro Testa, Pier Francesco Mola, Giovanni Benedetto Castiglione e Salvator Rosa mostra rilevanti affinità nella scelta dei temi, nelle intenzioni e negli orientamenti filosofici. La condanna dei propri tempi si manifesta nella predilezione per i soggetti di derivazione stoica e ascetica. Al contempo la ricerca dell’evasione si dirama in una fitta trama di tematiche, quali la magia, l’alchimia, le scienze naturali e l’esotismo. Questo volume rimette in discussione proprio l’eredità e la validità delle tesi di Salerno, prendendo le mosse da istanze metodologiche e da ricerche di carattere monografico dedicate ai “pittori del dissenso” negli ultimi decenni. L’accurata selezione di saggi qui raccolta offre importanti aggiunte al catalogo degli artisti “dissenzienti” e in merito ai rapporti che intercorrevano tra di loro, materiale grafico e archivistico inedito, studi di critica d’arte, iconografia e storiografia, e novità in materia di committenza e collezionismo. Per la varietà e la ricchezza dei suoi contributi, I Pittori del Dissenso si pone quale fondamentale strumento per la comprensione dell’arte e della cultura del Seicento.
Testi di Stefan Albl, Angiola Canevari, Patrizia Cavazzini, Miriam Di Penta, Dalma Frascarelli, Giulia Fusconi, Francesco Lofano, Cecilia Mazzetti di Pietralata, Francesco Petrucci, Simonetta Prosperi Valenti Rodinò, Giulia Martina Weston, presentati da Richard Bösel e Wolfgang Prohaska.
Articles and essays by Anita Viola Sganzerla
in Baroque Brilliance. Drawings and Prints by Giovanni Benedetto Castiglione, Kunsthaus Zürich, 2021
Catalogue essay
Catalogue entries by Anita Viola Sganzerla
Rembrandt’s Mark, Kupferstich-Kabinett, exhibition catalogue, Residenzschloss, Dresden, 2019
Papers by Anita Viola Sganzerla
Papers of the British School at Rome, 2012
Giovanni Benedetto Castiglione (1609-1664) explored the story of Circe with Ulysses’ companions t... more Giovanni Benedetto Castiglione (1609-1664) explored the story of Circe with Ulysses’ companions turned into animals in a group of paintings and a print that showcase both his virtuoso style and his penchant for unusual iconographic solutions. Castiglione’s fascination with Circe’s transformative power does not simply reflect contemporary trends, but it relates to the artist’s engagement with the depiction of myths of metamorphosis, which he would have encountered via various illustrated Italian editions of Ovid’s book and other works of art. This paper will analyse Castiglione’s treatments of Circe with the animals in light of contemporary intellectual debates regarding the dialogue between human consciousness and animal behaviour, as encountered, in particular, in the writings of Agostino Mascardi and his Roman circle. Building on these insights, I will suggest a reading of Castiglione’s sorceress as a sophisticated metaphor for the Court, inspirer of those vain ambitions that lead to animal baseness.
paper to be presented at:
Nosce te ipsum/ Know Thyself: A Conference on Early Modern Images
Co... more paper to be presented at:
Nosce te ipsum/ Know Thyself: A Conference on Early Modern Images
Conference, UCL Department of History of Art
Saturday 2nd May, 2015.
Book Reviews by Anita Viola Sganzerla
Review of T. J. Standring - M. Clayton, Castiglione: Lost Genius (London, 2013) focussing on the ... more Review of T. J. Standring - M. Clayton, Castiglione: Lost Genius (London, 2013) focussing on the discussion of prints.
Uploads
Exhibition catalogues by Anita Viola Sganzerla
This fascinating catalogue explores the theme of artists and travel and showcases over 100 drawings and prints. It accompanies Connecting Worlds: Artists & Travel, which is the first exhibition to approach the subject through the lens of artists’ experiences of travel from the Renaissance to the nineteenth century.
the studio are about creative concentration
and introspection and, like self-portraits, are reflections on practice and identity. The care taken in recording the studio apparatus of easels, palettes, or assistants grinding pigments, indicates their significance for practitioners. The studio might be the everyday workshop of dirty brushes and sculptural debris, but it is also the place of allegory and myth where artists perform or dream. A selection of drawings from the sixteenth to
the twentieth century, mainly from the Katrin Bellinger Collection, illustrates the variety of ways in which artists have represented themselves and others making art.
Books by Anita Viola Sganzerla
Testi di Stefan Albl, Angiola Canevari, Patrizia Cavazzini, Miriam Di Penta, Dalma Frascarelli, Giulia Fusconi, Francesco Lofano, Cecilia Mazzetti di Pietralata, Francesco Petrucci, Simonetta Prosperi Valenti Rodinò, Giulia Martina Weston, presentati da Richard Bösel e Wolfgang Prohaska.
Articles and essays by Anita Viola Sganzerla
Catalogue entries by Anita Viola Sganzerla
Papers by Anita Viola Sganzerla
Nosce te ipsum/ Know Thyself: A Conference on Early Modern Images
Conference, UCL Department of History of Art
Saturday 2nd May, 2015.
Book Reviews by Anita Viola Sganzerla
This fascinating catalogue explores the theme of artists and travel and showcases over 100 drawings and prints. It accompanies Connecting Worlds: Artists & Travel, which is the first exhibition to approach the subject through the lens of artists’ experiences of travel from the Renaissance to the nineteenth century.
the studio are about creative concentration
and introspection and, like self-portraits, are reflections on practice and identity. The care taken in recording the studio apparatus of easels, palettes, or assistants grinding pigments, indicates their significance for practitioners. The studio might be the everyday workshop of dirty brushes and sculptural debris, but it is also the place of allegory and myth where artists perform or dream. A selection of drawings from the sixteenth to
the twentieth century, mainly from the Katrin Bellinger Collection, illustrates the variety of ways in which artists have represented themselves and others making art.
Testi di Stefan Albl, Angiola Canevari, Patrizia Cavazzini, Miriam Di Penta, Dalma Frascarelli, Giulia Fusconi, Francesco Lofano, Cecilia Mazzetti di Pietralata, Francesco Petrucci, Simonetta Prosperi Valenti Rodinò, Giulia Martina Weston, presentati da Richard Bösel e Wolfgang Prohaska.
Nosce te ipsum/ Know Thyself: A Conference on Early Modern Images
Conference, UCL Department of History of Art
Saturday 2nd May, 2015.