In April 1964, a signi"cant anniversary was celebrated in Bari, the 20th anniversary of the National Liberation Committees congress, opened in 1944 at the Teatro Piccinni with a speech by Benedetto Croce. Furthermore, also in 1964, in November, in the young Athenaeum founded only 60 years earlier, and then immediately named a$er Benito Mussolini, the series of conferences curated by the ‘Roman’ Adriano Prandi began, descending from the national celebrations focused on a timeless myth, Buonarroti. In this speci"c circumstance Prandi invited Carlo Ludovico Ragghianti to talk about his perhaps most famous and complex crito"lm, Michelangiolo, just presented at the Venice Film Festival, the same occasion attended by Pier Paolo Pasolini with his Vangelo secondo Matteo. Between Moro’s debut as Italian prime minister (1963) and his tragic end by the Red Brigades’ hands (1978), the most interesting part of Prandi’s experience and that of the Institute of History of Art and Archaeology of the University of Bari, founded by him in 1947, also took place. #e Institute found itself in the middle of a very dense network of relationships, able to link its activity not only to the Bari’s intellectual circles but, above all, to the ‘wide’ dimension of post-war Italy. #ese connections’ constant, from Laterza editors’ family (1943) to Mario Sansone (1948), up to Luciano Canfora (1978), was precisely a militant art historian like Ragghianti. A student at the Normale of Pisa (he had begun his student career in 1928, at the beginning of Giovanni Gentile’s management), then head of the National Liberation Committee of Tuscany, in 1946 author for the Laterza editions (Commenti di critica d’arte and Miscellanea minore di critica d’arte), which would later also published his Disegno della Liberazione italiana, from 1963 Ragghianti was in contact with Prandi for primary issues concerning the National Research Council (C.N.R.), the establishment of the Italian Society of Archaeology and History of Art (S.I.A.S.A.), of which he also became president in 1969, in addition to the numerous eorts to reorganize the governance of a crucial hub of humanist power, such as the National Institute of Archaeology and History of Art (I.N.A.S.A.).

CHANGES: MICHELANGELO ANTIFASCISTA A BARI (1964-’65). Carlo L. Ragghianti e Adriano Prandi nel IV Centenario della scomparsa del Buonarroti

ANDREA LEONARDI
2024-01-01

Abstract

In April 1964, a signi"cant anniversary was celebrated in Bari, the 20th anniversary of the National Liberation Committees congress, opened in 1944 at the Teatro Piccinni with a speech by Benedetto Croce. Furthermore, also in 1964, in November, in the young Athenaeum founded only 60 years earlier, and then immediately named a$er Benito Mussolini, the series of conferences curated by the ‘Roman’ Adriano Prandi began, descending from the national celebrations focused on a timeless myth, Buonarroti. In this speci"c circumstance Prandi invited Carlo Ludovico Ragghianti to talk about his perhaps most famous and complex crito"lm, Michelangiolo, just presented at the Venice Film Festival, the same occasion attended by Pier Paolo Pasolini with his Vangelo secondo Matteo. Between Moro’s debut as Italian prime minister (1963) and his tragic end by the Red Brigades’ hands (1978), the most interesting part of Prandi’s experience and that of the Institute of History of Art and Archaeology of the University of Bari, founded by him in 1947, also took place. #e Institute found itself in the middle of a very dense network of relationships, able to link its activity not only to the Bari’s intellectual circles but, above all, to the ‘wide’ dimension of post-war Italy. #ese connections’ constant, from Laterza editors’ family (1943) to Mario Sansone (1948), up to Luciano Canfora (1978), was precisely a militant art historian like Ragghianti. A student at the Normale of Pisa (he had begun his student career in 1928, at the beginning of Giovanni Gentile’s management), then head of the National Liberation Committee of Tuscany, in 1946 author for the Laterza editions (Commenti di critica d’arte and Miscellanea minore di critica d’arte), which would later also published his Disegno della Liberazione italiana, from 1963 Ragghianti was in contact with Prandi for primary issues concerning the National Research Council (C.N.R.), the establishment of the Italian Society of Archaeology and History of Art (S.I.A.S.A.), of which he also became president in 1969, in addition to the numerous eorts to reorganize the governance of a crucial hub of humanist power, such as the National Institute of Archaeology and History of Art (I.N.A.S.A.).
2024
979-12-5995-093-2
File in questo prodotto:
File Dimensione Formato  
Dedalo SAGGIO 2_compressed.pdf

accesso aperto

Tipologia: Documento in Versione Editoriale
Licenza: Non specificato
Dimensione 9.96 MB
Formato Adobe PDF
9.96 MB Adobe PDF Visualizza/Apri

I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.

Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11586/518824
Citazioni
  • ???jsp.display-item.citation.pmc??? ND
  • Scopus ND
  • ???jsp.display-item.citation.isi??? ND
social impact