Claudio Zambianchi Lucio Fontana: Sign and space, ca. 1947-1951 pp. 5-14, DOI: 10.7374/102395 Details Cite
Davide Lacagnina Premises and first abstract developments in Antonio Sanfilippo’s painting (1946-1947): political instances, visual sources, European openings pp. 15-26, DOI: 10.7374/102396 Details Cite
Giuseppe Di Natale «Toujours le même signe!». Giuseppe Capogrossi at the trial of abstract-surrealist research in Post-World War II Europe pp. 15-38, DOI: 10.7374/102397 Details Cite
Minna Heimburger Salvator Rosa author of The Dead Soldier in The National Gallery of London? pp. 40-48, DOI: 10.7374/102398 Details Cite
Adriano Amendola Rome 1810. Giuseppe Binda visiting the studio of Antonio Canova pp. 49-58, DOI: 10.7374/102399 Details Cite
Chiara Piva Pietro Edwards and the Creugante by Antonio Canova pp. 59-69, DOI: 10.7374/102400 Details Cite
Michele Amedei On the activity of Vincenzo Cabianca and other Macchiaioli as copyists at the Uffizi in the 1850s pp. 70-85, DOI: 10.7374/102401 Details Cite
Daniele Galleni Setting the First World War: A series of sketches by Galileo Chini pp. 86-89, DOI: 10.7374/102402 Details Cite
Elisa Coletta From Piero della Francesca to Andrej Tarkovskij. Analytic iconology at work pp. 90-100, DOI: 10.7374/102403 Details Cite
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