ENGLISH
The invention of the Apulian Romanesque Art: Rediscoveries, Restorations and Recoveries from the 17th century to the Twenties of the 20th century
The presence of Millin in Apulia coincided with a pivotal moment for the history of the region and, in particular, of the Terra di Bari. The foundation of the Borgo Murattiano in Bari under the sign of French rationalism, which maintained its influence even after the Bourbon Restoration, encouraged the influx of travellers and scholars – mostly from France and Germany –, helping to place the Apulian buildings in a broader context and in relation to the new interests of Europe towards the Middle Ages.
This long and complex process led to the construction of a ‘monumental’ image of Apulia through the creation of an actual stereotype of the Romanesque architecture in the region.
The difficulty of defining the Apulian medieval art in relation to theories on national and regional styles was one of its main limitations. The strength and pervasive capacity of medieval language, combined with the continuity of constructive traditions and technical knowledge which are still relevant, had strongly conditioned the restoration and transformation of many buildings as early as the 17th century. Reconstructing this route backwards, through a few but significant examples, is an essential operation to clarify the long and complex process of rediscovery and reassessment of the Apulian Middle Ages.
It was also necessary to understand the choices which would occur in the last two decades of the 19th century with the creation of the regional offices for the conservation of monuments, starting a new season of knowledge of the medieval art in the region, linked to the restoration by architects and by conservation experts of cultural heritage, such as Ettore Bernich and Adolfo Avena, who came to Apulia from other Italian contexts in most cases. Their work would define a model that was followed consistently until the Fifties of the following century, and from which the idea that we still have of medieval art in the region would emerge. The image of medieval buildings that we know today is very often the result of the experts’ and architects’ interpretations and of their interventions rather than being an expression of the culture that produced them.
Hence, we can use the term invention of the Apulian Romanesque art in its double meaning, as historical and documentary discovery, as well as stylistic and formal interpretation of the major architectural expressions of medieval art.
- 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
- Lourdes de Sanjosé Llongueras, Obras emblemáticas del taller de orfebrería medieval de Silos: “El Maestro de las Aves” y su círculo. Abadía de Silos, 2016
Manuel Antonio Castiñeiras González - Carla Varela Fernandes, Pero. O mestre das imagens, ca. 1300-1350. Lisboa, Imprimatur, 2016
Manuel Antonio Castiñeiras González - Anna Rosa Calderoni Masetti, Intrecci mediterranei. Pisa tra Maiorca e Bisanzio. Edizioni ETS, Pisa 2017
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