Bernard Berenson used to refer to Giovanni Morelli as «the founder of the Method». With these words, he meant that Morelli was the scholar who, first, transformed connoisseurship in a science, giving to the discipline a stringent method. Does Morelli’s theory of painting really deserve this praise? To answer this question, this paper examines in the first part the philosophical and scientific background of Morelli’s doctrine, showing how its original debt payed to romantic philosophy went (...) replaced by a neat positivist orientation. In the second part, the Method itself is discussed, asking in which measure it was anticipated by the intuitions of art experts such as Giulio Mancini or Luigi Crespi and discussing the nature and epistemological relevance of the so-called “morellian details”, that is the forms of the nails, of the ears, of the hair’s curls in paintings. Are these details really sufficient for the attribution of a painting to an artist? Which role play the documents in connoisseurship? And, more generally, how important is aesthetic value in the morellian “Method”? (shrink)

The ramified legacy of Bernard Berenson’s writings within 20th century art historiography is both celebrated and maligned. In an effort to help reconcile this situation, this essay argues for the partial validity of Berenson’s peculiar version of art historical formalism by detailing its historical connections to the Pragmatist philosophy and psychology of William James and by analytically correlating Berenson’s arguments with recent work in aesthetics and the philosophy of perception. The essay examines the specific example of Berenson’s analysis of Giotto’s (...) paintings and leverages a Pragmatist interpretation of Berenson’s writings to frame Berenson’s known connections with other writers: including Adolf Hildebrand, Giovanni Morelli, and Walter Pater. In conclusion, the failure, potential, reception, and legacy of Berenson’s art historical scholarship are assessed in relation to Pragmatist ideas. Der vielfältige Einfluss von Bernard Berensons Schriften auf die Kunstgeschichte des 20. Jahrhunderts wird ebenso geschätzt wie verachtet. In dem Bestreben, diese Divergenzen zu berichtigen, versucht dieser Beitrag den Nachweis für die bedingte Gültigkeit von Berensons eigentümlicher Variante eines kunsthistorischen Formalismus zu erbringen, indem er einerseits seine historischen Verbindungen zur pragmatischen Philosophie und Psychologie von William James aufzeigt und indem er andererseits Berensons Argumentation ins Verhältnis zu aktuellen Debatten der wahrnehmungstheoretischen Ästhetik und Philosophie setzt. Am Beispiel von Berensons Interpretation der Gemälde Giottos führt dieser Essay eine pragmatische Analyse von Berensons Schriften durch und stellt diese ins Umfeld seiner Kontakte zu anderen Autoren: darunter Adolf Hildebrand, Giovanni Morelli und Walter Pater. Schließlich soll das Scheitern, das Potenzial, die Rezeption und das Erbe von Berensons kunsthistorischen Studien unter pragmatischen Gesichtspunkten bewertet werden. (shrink)

Aliando a própria experiência perceptiva à arqueologia visual dos mestres da escola de Warburg, à prática indiciária dos connaisseurs e, principalmente, do mais conhecido deles, o médico italiano do século XIX, Giovanni Morelli - junto com um pouco de psicanálise e a técnica dos romances policiais -, Gilda de Mello e Souxa desenvolveu um "método" crítico inteiramente livre e original, que rendeu enormes frutos. Entre outras tantas coisas, foi ela a primeira a compreender o "caipirismo imanente" ou, mais (...) exatamente, "a verdade dos gestos da nossa gente". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.2 (2003) 306-309 [Access article in PDF] Philippe Rouet. Approaches to the Study of Attic Vases: Beazley and Pottier. Trans. Liz Nash. Oxford Monographs on Classical Archaeology. Oxford: Oxford University Press, 2001. xiii + 167 pp. 21 black and white plates. Cloth, $74. This monograph examines the development of two major approaches in the study of Greek vase painting by focusing on a comparison of (...) the work of Sir John D. Beazley with that of Edmond Pottier. Beazley, an English scholar, spent his scholarly life attributing vases to various formerly unnamed artists based on [End Page 306] their style of drawing, thereby ascertaining for the first time the artistic history and stylistic development of Attic black-figure and red-figure vase painting. Pottier, a French scholar, founded the Corpus Vasorum Antiquorum, an international series whose original goal was to publish all ancient clay vases. Each scholar's interests contrasted with the other's in many ways. Beazley's work focused more on the object and Athens, while Pottier was opposed to the study of individual artists and was particularly interested in the relationship of the origins of Greek civilization to the East and the broader context of the vessels.The book's introduction sets the historical and intellectual background of Beazley and Pottier. Areas covered include the early history of collecting, initial attempts at defining the works of individual Greek vase painters, some influential early catalogues of Greek vases (e.g., those of Hamilton's collection), and the role that the copying of motifs from ancient pottery had in spreading the interest in Greek vase painting in the late eighteenth and early nineteenth centuries, particularly the part played by the Wedgwood workshop. I miss here any reference to the fine work of Brian A. Sparkes on these subjects (The Red and the Black: Studies in Greek Pottery[London and New York, 1996] 34-63).The first chapter considers the most influential, immediate predecessors of Beazley and shows how their work formed the intellectual framework for his accomplishment. They are Wilhelm Klein, whose important study of and signatures on Attic vases still serves as the basis for our interpretation of them; Paul Hartwig, who was the first to attribute vases to an anonymous master; and Adolph Furtwängler, who in collaboration with Karl Reichhold initiated the monumental three-volume work, Griechische Vasenmalerei, which featured exceptionally accurate drawings of vase paintings. The author astutely notes that Furtwängler's work on attributing Roman copies of Greek sculpture to artists was likewise influential in augmenting the interest in style and artistic personalities. The intertwined relationship between connoisseurship, collectors, and the art market is touched on briefly in the discussions of Hartwig and Edward Warren. It might also have been noted here that the wording and style of Beazley's earliest work on the Kleophrades Painter clearly owes its inspiration to Hartwig.Pottier's early life and career are the focus of the next chapter. This was the time when museum catalogues and encyclopedic dictionaries were for many the signs of significant national scholarship. Indeed, after France's loss in 1870 in the Franco-Prussian War, Pottier and many of his contemporary compatriots sought to affirm the intellectual vitality of their nation by initiating and completing such projects. Pottier's contribution was to publish Vases antiques du Louvre, in which photography was used for the first time on a large scale to illustrate the vases, and to serve as one of the editors of the Dictionnaire des antiquités grecques et romaines, in which he was also responsible for many of the entries on vases.Chapter 3 returns to the subject of connoisseurship and the two non-classical archaeologists whose methodology bear clear resemblances to Beazley's. The first of them, Giovanni Morelli, was the first to attempt a scientific methodology for attributing paintings to unknown artists by examining the minor details [End Page 307] of drawings in order to discover the artistic language of the painters. Rouet concludes that Morelli paved the way for Beazley's work, for... (shrink)

L’articolo si propone di indagare le numerose sfaccettature di un personaggio cruciale per il mercato dell’arte europeo del XIX secolo, a cui gli studi non hanno ancora rivolto la dovuta attenzione: l’antiquario Giuseppe Baslini. Ricordato dai contemporanei per l’eccezionale talento da connoisseur e la spregiudicata astuzia negli affari, Baslini fu probabilmente il più importante mercante milanese del secondo Ottocento. La sua bottega in via Montenapoleone 11 divenne riferimento e luogo di richiamo per restauratori, collezionisti e travelling agents di tutta Europa. (...) Fu consulente e fornitore delle collezioni milanesi Poldi Pezzoli e Bagatti Valsecchi, che beneficiarono della poliedricità dei suoi interessi, ma anche della National Gallery di Londra e della Gemäldegalerie di Berlino. Il suo «perfido commercio», come pure il ruolo di mediatore presso gallerie e collezioni private, sono documentati dalle lettere di Giovanni Morelli e Austen Henry Layard, dai taccuini di viaggio di Charles Eastlake e Otto Mündler e dall’autobiografia di Wilhelm von Bode. La restituzione delle vicende biografiche e professionali dell’antiquario, attraverso lo studio di documenti d’archivio inediti, lettere, fatture e cataloghi d’asta, ha rivelato una personalità intrigante e controversa, importante tramite per ricostruire relazioni e provenienze collezionistiche sino a oggi ignote. (shrink)

Religion within the Boundaries of Mere Reason is a key element of the system of philosophy which Kant introduced with his Critique of Pure Reason, and a work of major importance in the history of Western religious thought. It represents a great philosopher's attempt to spell out the form and content of a type of religion that would be grounded in moral reason and would meet the needs of ethical life. It includes sharply critical and boldly constructive discussions on topics (...) not often treated by philosophers, including such traditional theological concepts as original sin and the salvation or 'justification' of a sinner, and the idea of the proper role of a church. This volume presents it and three short essays that illuminate it in new translations by Allen Wood and George di Giovanni, with an introduction by Robert Merrihew Adams that locates it in its historical and philosophical context. (shrink)

David Harvey : On peut difficilement imaginer vérification plus spectaculaire de ce que tu prédis depuis très longtemps dans tes théories que l’actuelle crise du système financier mondial. Y a-t-il des aspects de la crise qui t’ont surpris? Giovanni Arrighi : Ma prédiction était très simple. Dans The Long Twentieth Century, je qualifiais de crise annonciatrice d’un régime d’accumulation le début de la financiarisation et je faisais remarquer qu’après un certain temps – en général environ un demi-siècle – la (...) crise terminale suivait. L’hypothèse fondamentale est que toutes ces expansions financières ne pouvaient pas tenir parce qu’elles amenaient à la spéculation plus de capital qu’il n’était possible d’en gérer – en d’autres termes, ces expansions financières avaient tendance à créer des bulles de différentes sortes. Je prévoyais que cette expansion financière mènerait à une crise terminale parce que, aujourd’hui comme dans le passé, les bulles ne peuvent pas tenir. (shrink)

La prima parte dello studio analizza il razzismo spiritualistico di Julius Evola, maturato negli anni Trenta e confluito in due volumi intitolati Il mito del sangue e Sintesi di dottrina della razza . Nella formulazione delle sue teorie, Evola si muove in continuità con la tradizione razzistica occidentale. La seconda parte è una rassegna delle principali linee interpretative su Evola, da sempre influenzate da uno scritto autobiografico dello stesso filosofo, Il cammino del cinabro, e dalla fama sinistra a lui legata. (...) Lo scritto si conclude con alcune considerazioni sul periodo speculativo evoliano, fortemente dipendente dall’attualismo ed espresso nei volumi degli anni Venti. (shrink)

Gava's book is worth reading. It is one of the best accounts of the attempt to read Peirce within a transcendental model of philosophy. This position is now one of the most powerful in Peirce's scholarship, even though it is highly problematic from both an exegetical and a theoretical standpoint. I will try to explain these problems at the end of this review, but first I will sketch Gava's detour and some positive advancements in Peirce's scholarship that he accomplishes.Gava's way (...) to link Peirce to transcendental philosophy is based on a general reading of the development of Peirce's thought. In this reading, Peirce would have been very Hegelian in his early writings where he strongly linked "being"... (shrink)

It is difficult to devise a new approach to any topic in Peirce scholarship, and it is also difficult to convincingly bring one to life. Tullio Viola's book, Peirce on the Uses of History, elegantly accomplishes this second trick, making it well worth reading. Viola is one of the many representatives of a new generation of Italian Peirce scholars who are connecting a solid philological and historical work about Peirce's writings with a vivid theoretical depth. Similar works by Chiara Ambrosio, (...) Francesco Bellucci, Maria Regina Brioschi, Claudia Cristalli, Gabriele Gava, Maria Luisi, and Marco Stango on various aspects of Peirce's thought testify to the vitality of studies inspired by this profound... (shrink)

The transformations that have affected the character of paid work for at least the last three decades under the impact of the “third industrial revolution,” along with the associated processes of globalization, demand that we rethink both the idea of work and the idea of leisure. It is necessary to move beyond the specific opposition between work time and time “free” of work as it was defined and established by the character of work in the twentieth century. The post-Fordist form (...) of work allows us to glimpse a previously unsuspected degree of freedom, responsability, and personal creativity that can be related in a positive and reciprocal manner with the notion of leisure, here understood in terms of intellectual and cultural enhancement rather than simply in terms of diversion, entertainment or mass consumption. In this sense, leisure can become one of the purposes of work and not merely a flight from the sphere of work. (shrink)