The use of photographic editing in the years 50s and 60s of the twentieth century art publishing, meeting the success of the look in cinema, was the instrument that shaped in depth the taste of the general public and the critical approach of the art historians as well. The art critics began to have frequent relations with the photographic and cinematographic lexicon. In addition to the "editing", terms such as "cut", "close-up", "focus", "set-up", "movie sequence", contributed to relate the art of the past to the contemporary art, by using the techniques of the movie camera vision. C. L. Ragghianti was among the more self-conscious users of cinema as an instrument of art criticism working to the famous “critofilm”, between '49 and '64. R. Longhi, in a similar perspective, turned some art documentaries. This paper focuses on the comparison between the method of the film editing and the comment of artistic images with book production by A. Skira, in the years of the growth of his publishing house, thanks to the birth of the Great Books, with the vignette collée, reproduced and printed high quality for those years. The editing of images included a fresh critical approach aiming at a wide popularization of the artistic language influenced by the celebrated book by A. Malraux "Le musée imaginaire", issued by Skira in 1947. The contents of these books spanned from the great histories of European art to Oriental art, from paleolithic art to the the American avant-garde. Among the authors there were art historians like L. Venturi, A. Chastel, G. C. Argan, but also writers and poets such as L. Aragon and R. Barthes. In the same years Lauro Venturi, son of Lionello, working for the Skira editions, made some important documentaries including "Chagall", which won the Oscar in '64.

L’utilizzo del montaggio fotografico nell’editoria sull’arte degli anni ‘50 e ‘60 del ‘900, incrociando l’affermazione dello sguardo del cinema, fu lo strumento che plasmò profondamente l’approccio critico degli storici dell’arte e il gusto del pubblico. Il discorso sull’arte iniziò ad avere frequenti tangenze con il lessico fotografico e cinematografico. Oltre al “montaggio”, termini come “taglio”, “primo piano”, “messa a fuoco”, “messa in scena”, “sequenza”, hanno contribuito a mettere in relazione l’arte del passato e contemporanea, con le tecniche cine-fotografiche della visione. C. L. Ragghianti fu tra i più coscienti utilizzatori del cinema come strumento di critica realizzando, tra il ‘49 e il ‘64, i celebri critofilm. R. Longhi in una prospettiva simile, seppur personale, si cimentò anch’egli con il documentario sull’arte. Il contributo si concentra sul paragone tra il metodo di montaggio cinematografico e commento alle immagini artistiche con la produzione libraria dell’editore Skira, negli anni dell’espansione della casa editrice, grazie alla nascita dei Grandi Libri, con le tavole applicate, riprodotte e stampate ad altissima qualità per quegli anni. Un montaggio delle immagini che presupponeva l’approccio critico innovativo e mirava a una vasta divulgazione del linguaggio artistico influenzato dal volume di A. Malraux “Le musée imaginaire”, uscito da Skira nel ‘47. L'articolazione delle collane andava dalle grandi storie dell’arte europea a quella orientale, dall’arte paleostorica a l'affermarsi dell’avanguardia americana. Tra gli autori vi furono storici dell'arte come L. Venturi, A. Chastel, G. C. Argan ma anche letterati e poeti come L. Aragon, R. Barthes. Negli stessi anni Lauro Venturi, figlio di Lionello, lavorando per la casa editrice, realizzò alcuni importanti documentari tra cui “Chagall”, con cui vinse l’Oscar nel ‘64.

Il montaggio delle immagini a confronto: le edizioni Skira e il documentario sull'arte, 2014-12-24.

Il montaggio delle immagini a confronto: le edizioni Skira e il documentario sull'arte

Casini, Tommaso
2014-12-24

Abstract

The use of photographic editing in the years 50s and 60s of the twentieth century art publishing, meeting the success of the look in cinema, was the instrument that shaped in depth the taste of the general public and the critical approach of the art historians as well. The art critics began to have frequent relations with the photographic and cinematographic lexicon. In addition to the "editing", terms such as "cut", "close-up", "focus", "set-up", "movie sequence", contributed to relate the art of the past to the contemporary art, by using the techniques of the movie camera vision. C. L. Ragghianti was among the more self-conscious users of cinema as an instrument of art criticism working to the famous “critofilm”, between '49 and '64. R. Longhi, in a similar perspective, turned some art documentaries. This paper focuses on the comparison between the method of the film editing and the comment of artistic images with book production by A. Skira, in the years of the growth of his publishing house, thanks to the birth of the Great Books, with the vignette collée, reproduced and printed high quality for those years. The editing of images included a fresh critical approach aiming at a wide popularization of the artistic language influenced by the celebrated book by A. Malraux "Le musée imaginaire", issued by Skira in 1947. The contents of these books spanned from the great histories of European art to Oriental art, from paleolithic art to the the American avant-garde. Among the authors there were art historians like L. Venturi, A. Chastel, G. C. Argan, but also writers and poets such as L. Aragon and R. Barthes. In the same years Lauro Venturi, son of Lionello, working for the Skira editions, made some important documentaries including "Chagall", which won the Oscar in '64.
Italiano
24-dic-2014
1-ott-2014
http://www.memofonte.it/contenuti-rivista-n.13/t.-casini-il-montaggio-delle-immagini-a-confronto-le-edizioni-skira-e-il-documentario-sull-arte.html
13
175
194
20
Italy
nazionale
comitato scientifico
Online
Settore L-ART/04 - Museologia e Critica Artistica e del Restauro
1
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10808/10385
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