Papers by Valentina Raimondo
Un mare tutto fresco di colore. Sandro Penna e le arti figurative (a cura di Roberto Deidier, Tommaso Mozzati), 2023
Bergamo. Capitale Italiana della Cultura 2023, Treccani, 2023
I Quaderni del Cardello, 2022
Arte Cristiana, 2022
Between 1932 and 1936 the sculptor Giacomo Manzù created a group of drawings and illustrations th... more Between 1932 and 1936 the sculptor Giacomo Manzù created a group of drawings and illustrations that were published in the Florentine Catholic magazine Il Frontespizio, directed by intellectual Piero Bargellini. His work as an illustrator also took place through the execution of the graphic works illustrating the books of prayers Preghiera per la Sposa Cristiana (1935) and Preghiere e letture (1936) and the volumes of Bargellini Architettura (1934) and David (1936). The article aims to analyze these graphic works from a historical and stylistic point of view, in order to outline Manzù’s accession to the theme of sacred art in the initial phase of his career, and the role of his iconographic choices in this period. At the same time, the essay attempts to open an inquiry on the relationship between the artist’s drawings and his sculptures, in order to trace an accurate comparison of the evolution that characterizes his work.
TERRITORIO, 2013
The objective of this paper is to assess and compare two very particular museums, the Museo d’Art... more The objective of this paper is to assess and compare two very particular museums, the Museo d’Arte Contemporanea Paolo Pini (Mapp-Paolo Pini contemporary art museum) in Milan and the Museo del Manicomio di San Servolo (San Servolo mental asylum museum in Venice). The Mapp is a contemporary art museum in which the pavilions containing the hospital wards have been used to house works of art. The San Servolo museum, on the other hand, contains a rich collection of records and medical and scientific exhibits which trace the history of the psychiatric hospital. Both these institutions are located inside former psychiatric hospitals and constitute a valid attempt to transform environments and architectures linked to the painful events of a still recent past.
Elephant&Castle laboratorio dell'immaginario, 2021
During the length of his career, Renato Guttuso showed a particular inclination for writing. More... more During the length of his career, Renato Guttuso showed a particular inclination for writing. More than his talent as a painter, his ability as a writer contributes significantly to define his intellectual profile. This paper analyzes a group of six articles that Guttuso published on Mino Maccari’s periodical Il Selvaggio between 1939 and 1941; through the analysis of some key themes, these articles become an important example for evaluating how the image of the artist appears through his writings. The in-depth study of these texts, as presented in this research, opens a new interpretative window into Guttuso’s inner congruence between his image as an artist, and as an intellectual. The second aim of this study is to underscore the complexity of the artist by comparing his writings with the paintings he made in the same period. As a matter of fact, in this phase of his life, Guttuso demonstrates his independent and strong personality in both writing and painting. Moreover, he shows how much his intellectual profile is embedded within the historical and cultural context.
Atti dell'Ateneo di Scienze, Lettere ed Arti di Bergamo, 2018
Fiume 1919-2019. Un centenario tra identità, memorie e prospettive di ricerca. Atti del convegno internazionale di studi, 2020
Giacomo Manzù. I suoi esordi a Bergamo. Il Fregio del Monumento ai Fratelli Calvi, 2020
1919-1939, un ventennio a Bergamo e nel suo territorio, 2019
1919-1939, un ventennio a Bergamo e nel suo territorio, 2019
The purpose of the paper is to study the work of the sculptor Nino Franchina from the beginning o... more The purpose of the paper is to study the work of the sculptor Nino Franchina from the beginning of his career in the Thirties of the 20th Century to the end of the Forties. The author evaluates the development of the artistic path and the peculiar approach of the sculptor’s art thanks to the drawings and sculptures in which the artist chooses as subject the Sammarcota, San Marco d’Alunzio’s woman pictured holding on the head a stone picked up from the Furiano river in Sicily. The female figure – decontextualised from her own original scenario – is represented as a huge Ποτνια Ματερ and it becomes the symbol of the sculpture’s origin. Studying the artworks with the Sammarcota, made from the 1935 until 1947, it is possible to evaluate the stylistic evolution of Franchina’s art and to understand the main steps of his career and the changes from a figural to an abstract art.
The objective of this paper is to assess and compare two very particular museums, the Museo d’Art... more The objective of this paper is to assess and compare two very particular museums, the Museo d’Arte Contemporanea Paolo Pini (Mapp-Paolo Pini contemporary art museum) in Milan and the Museo del Manicomio di San Servolo (San Servolo mental asylum museum in Venice). The Mapp is a contemporary art museum in which the pavilions containing the hospital wards have been used to house works of art. The San Servolo museum, on the other hand, contains a rich collection of records and medical and scientific exhibits which trace the history of the psychiatric hospital. Both these institutions are located inside former psychiatric hospitals and constitute a valid attempt to transform environments and architectures linked to the painful events of a still recent past.
La bassa bergamasca, 2009
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Papers by Valentina Raimondo
quando Gabriele d’Annunzio, dopo l’impresa di Fiume, sceglie il
lago di Garda quale propria dimora e luogo di pace. La villa, situata
in località Cargnacco, è trasformata dal Poeta, insieme all’architetto
Gian Carlo Maroni, nella sua ultima e grandiosa opera d’arte.
Il volume ripercorre la storia dei primi cento anni di questo luogo
iconico, a partire dall’arrivo di d’Annunzio fino alle vicende dei
giorni nostri. Il racconto si sviluppa in due parti: la prima dedicata
agli anni in cui la casa e i suoi dintorni sono trasformati dagli
interventi del Poeta Imaginifico; la seconda ripercorre la storia
della Fondazione Il Vittoriale degli Italiani che, istituita per volontà
di d’Annunzio, tutela e valorizza il complesso monumentale. La
storia dell’istituzione è letta attraverso l’operato dei suoi presidenti
che si sono succeduti dal 1937 a oggi.