Is really Giotto we are looking at?by Antonio Carnevalee've been to Palazzo Reale in Milan to visit the first comprehensive exhibition dedicated to Giotto. But the way the artist's works have reached our days has indeed to be taken into account.
When Nicolas Party met Giotto (an interview)by Stefano PirovanoWe sat down with Nicolas Party to discuss with him about Giotto, in occasion of the first comprehensive exhibition dedicated to the Italian master.
Traveling for the Master of the Corsi Crucifixionby Carlo PradaAn itinerary that starts with the Master of the Corsi Crucifixion and leads to an important series of Giottesque crucifixes
A painter from Umbria or Marche, a quasi-Rinaldo di Ranuccioby Angelo TartuferiThe compelling analysis of a late 13th century painted crucifix, with its shifting attributions and historical relevance
The immaculateness of Andrea Mantegnaby Sofia SilvaOn the youth of Andrea Mantegna, between the page and the stone, in the demystification of the antiquarian obsession
Guariento di Arpo relaxes perfectionby Sofia SilvaGuariento di Arpo's response to the authority of his Padua predecessor Giotto is one where grace blends with Gothic style and humanism
Hair air style from Middle Age to Botticelliby Silvia TomasiHair colour had a moral significance, the hairstyle a message of seduction or betrayal. And each hair became a story
The annoying fly and symbolic paintingsby Silvia TomasiFlies buzz around a few Renaissance, Netherlandish and Baroque paintings, full of jokes, meanings, and hellish symbolism
Why take an artwork from the place it was made for?by Antonio CarnevaleBringing works of art out of museums and back to their places of origin is what we should do: the future may begin in the church of Santa Corona in Vicenza.
No leap is ever into the voidby Silvia TomasiA saga of artist jumps through the work of Hsieh, Mureșan, de Dominicis, Perrone, in the wake of Yves Klein's famous leap into the void.
Emerging artists to watch: Kaoru Arima and his facial (un)recognitionby Piero BiselloKaoru Arima's pictures of faces are paintings for an alternative, straightforward portraiture: romanticism no more; agendas no more; ego no more.
