Una”significant form” svelata L’allestimento della mostra” Italian Art” alla Royal Academy nella Londra del 1930

Barbara Clara Borghi
My essay argues with the Exhibition of Italian Art 1200-1900 at the Burlington fine Arts Club, made possible by Mussolini and Lady Ivy Chamberlain in 1930. It focuses on the development and deployment of the aesthetic display resources theorized by Roger Fry to enhance the visitors’ experience of the art work, unveiling a hidden structure in the rhythm of the art galleries. In the growing interest amongst curators, interpretation managers and designers exploring ways in...
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