The essay aims therefore to provide a detailed reconstruction of Meidner's history of reception in Italy from the 1960s to the present day. In 1964 the renowned Germanist Paolo Chiarini translated in his volume Caos e Geometria Meidner's manifesto Anleitung zum Malen von Großstadtbildern; in the same year the magazine “Emporium” reviewed Meidner's exhibition in Darmstadt. In the 1970s, Meidner's works were included in a few important exhibitions, and his drawings were first shown to the Italian public in solo exhibitions in Rome and Milan between 1976 and 1977. Then there was a turning point: only after Jean Clair included Meidner’s self-portrait from 1912 (Hessisches Landesmuseum Darmstadt) in the exhibition Identità e Alterità, that he conceived for the centenary of the Venice Biennale in 1995, did other Italian curators begin to show the works by the German artist in various exhibitions, and Italian scholars have dealt with Meidner's main topics in general essays. Nonetheless my book Ludwig Meidner attraverso degli scritti (2009) remains up to today the only monograph on the artist in Italy.
|Titolo:||Die Rezeption von Ludwig Meidners Werk in der italienischen Kunstkritik /The Reception of Ludwig Meidner’s Work in Italian Art Criticism.|
|Data di pubblicazione:||2018|
|Appare nelle tipologie:||02.01 - Contributo in volume (Capitolo o saggio)|