The civilisation of reviews and figurative lines


In the years between the two world wars, the intellectual debate matures in Florence in the newsrooms of magazines that contribute to creating an eclectic atmosphere, full of suggestions and contamination with the figurative arts. Ample space, especially in the aftermath of the great war, is dedicated to the recovery of the figurative tradition, of which one of the main supporters is Ugo Ojetti: on the columns of «Dedalo»(1920-1933) and «Pan»(1933-1946). The critic defends the return to a classic that covers the study of the figure and the recovery of subjects that are dear to the seventeenth-century painting such as the landscape and still life. The return to order, which since the 1910s had pervaded Ojetti's artwork, can also be found in magazines such as the Catholic-inspired «il Frontespizio»(1929-1940), and «Solaria»(1926-1936), linked to the artists and intellectuals of the Tuscan twentieth century. Instead, Giovanni Costetti - young collaborator of the magazine «Leonardo»(1903-1907) alongside Giuseppe Prezzolini, Giovanni Papini and Ardengo Soffici will go farther. The latter, a lively entertainer of the Florentine cultural scene, who in the first world war will drop the role of avant-garde instigator to engage, through the pages of «Vraie Italie»(1919-1920), in a passionate defense of the Tuscan tradition revisited in the light of the Cezanne model.

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