Alcuni disegni veneti del Seicento

Giulio Romano Pittore, architetto, artista universale Studi e ricerche, 2021

Quaderni degli Atti 2019 - 2020 - Numero speciale allegato agli - Atti dell’Accademia Nazionale di San Luca 2019 - 2020 - a cura di Peter Assmann, Stefano L’Occaso, Maria Cristina Loi, Francesco Moschini, Antonio Russo, Michela Zurla

2019

Registered by the Court of Rome on 04/12/2001 Under the number 514-2001 È vietata la riproduzione, anche parziale, con qualsiasi mezzo effettuata, anche ad uso interno e didattico, non autorizzata. Diritti di traduzione, di memorizzazione elettronica, di riproduzione e di adattamento, totale parziale con qualsiasi mezzo sono riservati per tutti i Paesi. La pubblicazione di Abitare a Milano è stata curata dalla Redazione di Planum Giulia Fini e Marina Reissner (Ideazione e cura) Cecilia Maria Saibene (Redazione) Arman Fadaei (Traduzioni) Progetto grafico copertina: Nicola Vazzoler Si ringrazia la redazione di MilanoCittàAperta Le foto presenti in questo numero sono tratte dal numero #18 e dal numero #19 della rivista Miciap www.miciap.com

Frascari Symposium IV: Kingston School of Art, London, England, 2019

Depict | Demonstrate | Disclose: Drawing 31615 Architectural drawings can be problematic for traditional archives. Unlike paintings, sculptures, and decorative arts, which are accessioned, architectural sketches (and in some cases, drawings) may not. They can be the flotsam and jetsam in an archival terra incognita. Even at the well-organized Centro Carlo Scarpa at Treviso, for example, I’ve encountered uncatalogued or misattributed drawings, absent identifying nomenclature on virtual scraps of paper. Family-owned archives present their own unique challenges. While visiting the apartment Scarpa shared with his wife Nini, at the Villa Palazzetto in Monselice, for example, longtime client and Scarpa friend, Aldo Businaro (who was developing his own archive) opened the drawer of a bedside nightstand. In mid-sentence, he began pulling out A4 sheets covered with Scarpa sketches –heretofore unknown to Businaro. Discovering Scarpa drawings is one thing; access to collections is another matter. When I began researching landscape and garden in the oeuvre of Scarpa two decades ago, I had entry to fewer than 1,000 original drawings: the Castelvecchio archives at Verona, the Fondazione Querini-Stampalia, and the private collections of Guido Pietropoli, Arrigo Rudi, and Aldo Businaro. The remainder, more than 20,000 graphic works of various types and sizes, were stored in the professional office of Tobia and Afra Scarpa in Montebelluna, where they presented Tobia and his then partner/wife Afra, with birthright and burden. In large part, because of this onus on the Scarpas, and the shadow cast by the father on the work of the son, access to the drawings was limited to a handful of former associates and academics. These are the graphic documents that since 2006, constitute the bulk of the collection at the Archivio di Stato di Treviso. The timing of my first research visit to the Museo Castelvecchio archive in 1998, would have been poor had I come to see only the famous “factures,” as Marco Frascari calls them in Eleven Exercises, of Cangrande’s new setting, and Scarpa’s exuberant details. Most were out for cleaning in preparation for the 1999 exhibition at the CCA. Fortunately, my interest lay in the flotsam and jetsam.

A thorough analysis on painter Marco Tirelli's work from an optical and perspectival point of view.