Papers by Vittore Pizzone
The Review "Kunst der Nation", published between 1933 and 1935, was founded aft... more The Review "Kunst der Nation", published between 1933 and 1935, was founded after the journalistic discussion that developed in the Summer '33 about modernism and contemporary art. Student leaders such as Otto-Andreas Schreiber and Hans Weidemann, became key proponents of the idea that modern art had place in the new Reich. on the one hand Schreiber and the authors of "Kunst der Nation" supported the Expressionism and they asked what must to be the Expressionim's Role in Nazi Germany, on the other hand Alfred Rosenberg considered "Kunst der Nation" a serious insult against Nazi State. But Schreiber had a very important supporter: Joseph Goebbels. Goebbels try to agree a compromise between Nazi and Expressionism and he used "Kunst der Nation" as army against Rosenberg. Only 1934 Hitler appointed Rosenberg Commissar for Supervision of Intellectual and Ideological Education of the Nsdap. Hitler's decision stemmed fromhis dissatisfaction with the Reich's aesthetic policies. Goebbels, despite his lip service to the voelkisch camp, promoted an art politic that Hilter found too liberal. Goebbel was afraid of Hitler change and of an eventually disfavour toward him. For these reason Goebbels don't helped more "Kunst der Nation" that 1935 gave up her publication.
Ricerche Di Storia Dell Arte, 2017
Annali di Critica d'Arte, 2014
This essay examines the rather overlooked work of some German and Italian painters activ during S... more This essay examines the rather overlooked work of some German and Italian painters activ during Second World War and their interpretation of this tragic event. For Germany, artists like Otto Hofmann, Martin Amorbach, Ernst Schomer and Gerhard Winter are considered; whereas for Italy, Anselmo Bucci, Cesare Andreoni, Maceo Casadei, Giuseppe Novello. The author had studied the choices and stylistic reactions alongside the somewhat dramatic circumstances artists ha to endure to carry out their work; the purposes of their images (propaganda, chronicle, personal human speculations) together with their thoughts commited to the written page. Moreover, the technical media they used (painting, drawing and photography); the exhibitions they took part in, since 1942 war-time 23rd Venice Biennale; finally, their work for newspapers and periodicals.
links. Rivista di letteratura e cultura tedesca, 2011
The Review "Kunst der Nation", published between 1933 and 1935, was founded after the journalisti... more The Review "Kunst der Nation", published between 1933 and 1935, was founded after the journalistic discussion that developed in the Summer '33 about modernism and contemporary art. Student leaders such as Otto-Andreas Schreiber and Hans Weidemann, became key proponents of the idea that modern art had place in the new Reich. on the one hand Schreiber and the authors of "Kunst der Nation" supported the Expressionism and they asked what must to be the Expressionim's Role in Nazi Germany, on the other hand Alfred Rosenberg considered "Kunst der Nation" a serious insult against Nazi State. But Schreiber had a very important supporter: Joseph Goebbels. Goebbels try to agree a compromise between Nazi and Expressionism and he used "Kunst der Nation" as army against Rosenberg. Only 1934 Hitler appointed Rosenberg Commissar for Supervision of Intellectual and Ideological Education of the Nsdap. Hitler's decision stemmed fromhis dissatisfaction with the Reich's aesthetic policies. Goebbels, despite his lip service to the voelkisch camp, promoted an art politic that Hilter found too liberal. Goebbel was afraid of Hitler change and of an eventually disfavour toward him. For these reason Goebbels don't helped more "Kunst der Nation" that 1935 gave up her publication.
Arte e Critica in Italia nella prima metà del Novecento (a cura di Giovanna De Lorenzi), 2010
Ricerche di Storia dell’Arte, 2017
The present paper aims to provide for the first time a comprehensive survey on the artistic activ... more The present paper aims to provide for the first time a comprehensive survey on the artistic activity of the painter Johann Friedrich Wentzel (1670-1729). Wentzel's experience is particularly important as he took part and fostered the cultural renewal of a geographical area - the Brandenburg - still marginal at the time and not familiar yet with great commissions. Although a number of historical, artistic and biographical aspects still need clarification, it can be ascertained that Wentzel played a major role in Seventeenth century German artistic culture. He gave a crucial contribution to the figurative language of the northern baroque art, as he actively mediated between different artistic trends: Netherlandish painting in Germany, court painting in central and north Germany, Venetian and Roman painting. His pictorial corpus as well as his intellectual biography deserve therefore closer attention.
AIÔNOS Miscellanea di studi storici, 2014
This paper explores the cultural experience of the expressionist artists organization Der Norden,... more This paper explores the cultural experience of the expressionist artists organization Der Norden, active in Germany in the first half of the thirties. Aim of the paper is to show how Joseph Goebbels exploited group’s desire for change, expressed through the journal “Kunst der Nation”, for his own political purposes. By seemingly supporting artists that partly challenged the cultural policy of the party, Goebbels could get hold of a larger consensus. Such a strategy was certainly made possible by the group’s ideological positions. While supporting innovation, “Der Norden” did not go beyond early twenty-century avant-garde. Their goal was to use expressionism as a starting point to build the figurative language of the new Nazi nation. Innovation, thus, Iargue, meant nothing else than conservation.
Annali di Critica d'Arte, 2011
Per uso esclusivo nell'ambito della Abilitazione scientifica nazionale. Ogni riproduzione o distr... more Per uso esclusivo nell'ambito della Abilitazione scientifica nazionale. Ogni riproduzione o distribuzione è vietata.
Giornale di Storia Contemporanea, 2016
My contribution aims to reconstruct the life-history as well as the political relevance of the co... more My contribution aims to reconstruct the life-history as well as the political relevance of the count Luigi Aldrovandi Marescotti (1876-1945), a figure hitherto disregarded by historians. In particular, I will focus on the period of his appointment as an ambassador in Berlin between 1926-1929. My research is based on documents conserved in the Archivio di Stato in Bologna (letters and personal diaries) and sheds new light on the relationships between Italy and Germany at the end of the twenties, the background of Italian internal politics. Particular attention will be devoted to the sudden end of Aldrovandi Marescotti’s mission in Berlin, linked to obscudre maneuvering around the embassy. My contribution is divided up into three parts: a biographical outline of Luigi Aldrovandi Marescotti with a focus on his activity as a diplomat; the facts leading to his appointment in Berlin; the Berlin period, with a focus on his relationship with Dino Grandi and the local German politicians, in an attempt to explain why his appointment was ended.
Il contributo intende ricostruire la biografia e l’importanza del conte Luigi Aldrovandi Marescotti (1876-1945), una figura finora trascurata negli studi storici, e si concentra in particolare sull’incarico di ambasciatore ricoperto a Berlino tra il 1926 e 1929. La ricerca si fonda su materiali d’archivio (lettere e diari) conservati presso l’Archivio di Stato di Bologna e getta una nuova luce sui rapporti tra Italia e Germania alla fine degli anni Venti, sullo sfondo della politica interna italiana. Particolare attenzione sarà dedicata alla missione a Berlino di Aldrovandi Marescotti, collegata a manovre oscure all’interno dell’ambasciata. Il contributo è diviso in tre parti: un profilo biografico di Luigi Aldrovandi Marescotti, con speciale riguardo per la sua attività diplomatica; gli eventi che portarono alla sua nomina a Berlino; il periodo berlinese, con speciale riguardo per il suo rapporto con Dino Grandi e i politici tedeschi locali, nel tentativo di spiegare perché il suo incarico fu interrotto.
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Papers by Vittore Pizzone
Il contributo intende ricostruire la biografia e l’importanza del conte Luigi Aldrovandi Marescotti (1876-1945), una figura finora trascurata negli studi storici, e si concentra in particolare sull’incarico di ambasciatore ricoperto a Berlino tra il 1926 e 1929. La ricerca si fonda su materiali d’archivio (lettere e diari) conservati presso l’Archivio di Stato di Bologna e getta una nuova luce sui rapporti tra Italia e Germania alla fine degli anni Venti, sullo sfondo della politica interna italiana. Particolare attenzione sarà dedicata alla missione a Berlino di Aldrovandi Marescotti, collegata a manovre oscure all’interno dell’ambasciata. Il contributo è diviso in tre parti: un profilo biografico di Luigi Aldrovandi Marescotti, con speciale riguardo per la sua attività diplomatica; gli eventi che portarono alla sua nomina a Berlino; il periodo berlinese, con speciale riguardo per il suo rapporto con Dino Grandi e i politici tedeschi locali, nel tentativo di spiegare perché il suo incarico fu interrotto.
Il contributo intende ricostruire la biografia e l’importanza del conte Luigi Aldrovandi Marescotti (1876-1945), una figura finora trascurata negli studi storici, e si concentra in particolare sull’incarico di ambasciatore ricoperto a Berlino tra il 1926 e 1929. La ricerca si fonda su materiali d’archivio (lettere e diari) conservati presso l’Archivio di Stato di Bologna e getta una nuova luce sui rapporti tra Italia e Germania alla fine degli anni Venti, sullo sfondo della politica interna italiana. Particolare attenzione sarà dedicata alla missione a Berlino di Aldrovandi Marescotti, collegata a manovre oscure all’interno dell’ambasciata. Il contributo è diviso in tre parti: un profilo biografico di Luigi Aldrovandi Marescotti, con speciale riguardo per la sua attività diplomatica; gli eventi che portarono alla sua nomina a Berlino; il periodo berlinese, con speciale riguardo per il suo rapporto con Dino Grandi e i politici tedeschi locali, nel tentativo di spiegare perché il suo incarico fu interrotto.