ENGLISH
Rediscovering Byzantine Painting in Apulia
The paper aims to outline the historiographical background on Apulian medieval art, drawing particular attention to the pictorial evidence of cave heritage on the one side and, in a lager perspective, to what could be traced back to Byzantine imagery on the other one. Taking into account the increasing interest on the topic recorded from the late 19th century onwards, by both Italian and foreign scholars, ‘new’ monuments and specific areas of the region were
investigated.
French scholars Diehl (1894) and Bertaux (1903) and Cosimo De Giorgi (1888) – among others – first approached the study of Byzantine paintings in Apulia and contributed to create the myth of hermit monks coming from Byzantium to the Western periphery of the Empire during the Iconoclastic period; they first developed the idea of a ‘hermit painting’ in Apulia. The basic book by Alba Medea (1939) and the later research activities by Cosimo Damiano Fonseca (from the 70’s of the last century) confirmed this reading – now rejected in a good part: nevertheless, agreeing or not with this interpretation of the rupestrian phenomenon, it is unquestionable that peculiarities of Apulian wall-painting production with respect to the Southern Italian panorama, especially considering what had survived in the Salento and Taranto areas, were (and still are) an important field of study for cultural history and art.
The contribution moves between a double track of investigation: specific (and most known) examples of Byzantine painting in Apulia (considering churches and crypts), and most recent researches conducted on the theme, the latter referring to their new interpretation (in terms of iconography, style, historical context and so on), as well as to the creation of a ‘network of figurative knowledge’ of rupestrian heritage, considering in particular the possibilities offered by historical photo archives, on which young scholars are recently focusing. New discoveries and well-established fields of study of Byzantine paintings in the considered region confirm and enhance the importance of Apulian rich pictorial cave heritage.
- Premessa
Marina Righetti - Millin, sempre un riferimento
Michel Gras - Aubin-Louis Millin (1759-1818), histoire d’une redécouverte
Laurence Engel - Millin: un’introduzione
Anna Maria D’Achille, Antonio Iacobini - L’archeologo, il pittore e lo scrittore. Aubin-Louis Millin, Franz Ludwig Catel e Astolphe de Custine nel Regno di Napoli
Gennaro Toscano - Les dessins et les relevés du voyage en Italie d’Aubin-Louis Millin conservés à la Bibliothèque nationale de France: reconstitution virtuelle d’un corpus
Corinne Le Bitouzé - Normanni, Svevi e Angioini nella storiografia europea del Seicento e del Settecento
Kristjan Toomaspoeg - Paesaggi di luce e di pietra in Puglia. La letteratura di viaggio dal XV al XVIII secolo
Fulvia Fiorino Dotoli - Seroux d’Agincourt e l’arte medievale in Puglia
Simona Moretti - Antolini, Desprez, Marvuglia e gli altri. L’Italia del Sud nei disegni per l’Histoire de l’Art di Seroux d’Agincourt
Ilaria Miarelli Mariani - Seroux d’Agincourt e la pittura medievale a Napoli nei disegni della Biblioteca Apostolica Vaticana
Paolo di Simone - La riscoperta del battistero di S. Giovanni a Canosa di Puglia nel XVIII secolo
Petra Lamers - Prima e dopo Millin: le porte bronzee d’età normanna in Puglia
Antonio Iacobini, con un’appendice di Anna Maria Martino - Aubin-Louis Millin e la civiltà islamica attraverso disegni e appunti inediti
Arianna D’Ottone Rambach - Millin e i pavimenti figurati dell’Italia meridionale (secoli XI-XII)
Anna Maria D’Achille - Millin e le iscrizioni della Puglia medievale
Cristina Mantegna - Preludio al Voyage pittoresque di Millin: l’arte della Puglia medievale nelle pubblicazioni erudite (secoli XVII-XVIII)
Giovanni Gasbarri - Huillard-Bréholles e lo studio dei monumenti della Puglia normanna e sveva
Elisabetta Scungio - «Die Totalität der Ansicht». Heinrich Wilhelm Schulz e i monumenti della Puglia medievale
Vinni Lucherini - La Puglia preromanica nella storiografia archeologica e artistica: dalla letteratura di viaggio all’Aggiornamento dell’opera di Bertaux
Gioia Bertelli - La riscoperta della pittura bizantina in Puglia
Marina Falla Castelfranchi - L’invenzione del Romanico pugliese: riscoperte, restauri, ripristini dal XVII secolo agli anni Venti del Novecento
Pina Belli D’Elia, Luisa Derosa - Apulia out of Apulia: Apulian Medieval Works of Art in International Museums
Tessa Garton - La riscoperta della Puglia medievale nelle Esposizioni Nazionali di Torino (1898) e di Roma (1911)
Clara Gelao - Conclusioni. Aubin-Louis Millin, l’ultimo dei viaggiatori compilatori
Xavier Barral i Altet - Recensioni
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Gianluca Ameri - Romanesque patrons and processes: design and instrumentality in the art and architecture of Romanesque Europe, a cura di Jordi Camps, Manuel Castiñeiras, John McNeill, Richard Plant, London-New York, Routledge, 2018
Gaetano Curzi - Xavier Barral i Altet, Els Banys “àrabs” de Girona. Estudi sobre els banys públics i privats a les ciutats medievals.
Barcelona, Institut d’Estudis Catalans, 2018
Manuel Antonio Castiñeiras González