Archivio d’Annunzio
1 | 2014

Archivio d’Annunzio
1 | 2014

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Vol. 1 | Num. 1 | Ottobre 2014

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Archivio d’Annunzio | 1 | 2014

D’Annunzio e due opere di Astolfo de Maria al Vittoriale

Giuseppina Dal Canton
Università degli Studi di Padova, Italia
giuseppina.dalcanton@unipd.it

DOI 10.14277/2421-292X/457

Abstract

At the Vittoriale degli Italiani, in the so-called «Leda’s room», Gabriele d’Annunzio’s own bedroom, there are two works by painter Astolfo de Maria, the Dogaressa (i.e. the wife of the doge) and an Erotic allegory. D’Annunzio always refused to part with the former; and he was personally involved in the peculiar framing of the second, a real tableau de chevetsince it was placed at the head of his bed. Several theories have been put forward as regards the possible sources for the subjects of the two apparently unrelated paintings, but d’Annunzio’s play Sogno d’un tramonto d’autunno (An autumn sunset dream) is the only one source that can be identified for both. The close connection between the literary work and the two paintings, and the meaning these must have had for d’Annunzio explain the role these pictures had as objects d’affection and the peculiar place they held in the poet’s bedroom since the first arrangement of the rooms of the Vittoriale.



Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 International License 

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Campo DC Valore

dc.contributor.author

Dal Canton Giuseppina

dc.title

D’Annunzio e due opere di Astolfo de Maria al Vittoriale

dc.type

Journal Article

dc.language.iso

it

dc.identifier.uri

http://doi.org/10.14277/2421-292X/457

dc.description.abstract

At the Vittoriale degli Italiani, in the so-called «Leda’s room», Gabriele d’Annunzio’s own bedroom, there are two works by painter Astolfo de Maria, the Dogaressa (i.e. the wife of the doge) and an Erotic allegory. D’Annunzio always refused to part with the former; and he was personally involved in the peculiar framing of the second, a real tableau de chevetsince it was placed at the head of his bed. Several theories have been put forward as regards the possible sources for the subjects of the two apparently unrelated paintings, but d’Annunzio’s play Sogno d’un tramonto d’autunno (An autumn sunset dream) is the only one source that can be identified for both. The close connection between the literary work and the two paintings, and the meaning these must have had for d’Annunzio explain the role these pictures had as objects d’affection and the peculiar place they held in the poet’s bedroom since the first arrangement of the rooms of the Vittoriale.

dc.relation.ispartof

Archivio d’Annunzio

dc.relation.ispartof

Vol. 1 | Num. 1 | Ottobre 2014

dc.publisher

Edizioni Ca’ Foscari - Digital Publishing

dc.date.issued

None

dc.dateAccepted

None

dc.dateSubmitted

None

dc.identifier.issn

2421-4213

dc.identifier.eissn

2421-292X

dc.rights

Creative Commons 4.0 Attribution alone

dc.rights.uri

http://creativecommons.org/licenses/by/4.0/

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1 | 2014

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