• Maria Novella Tavano - Università Ca’ Foscari Venezia, Italia - email

• Introductory remarks
• Prossimamente

Self-Definition and Self-Questioning: Image-Making as a Political Tool

• Image and Imagery in the Age of the Directory (1795-99)
  The Political Symbolism of the Revolution between Old and New Horizons
• Giacomo Carmagnini
• 22 Dicembre 2023

• Reworking National History
  The Representation of Power and its Subsequent Overturning in Relation to Postcolonial Art in Italy
• Jacopo De Blasio
• 22 Dicembre 2023

Artistic Expression and Political Power in Late Medieval and Renaissance Venice

• Reflections of Venetian Cittadini Originari
  The Zamberti Family: A Case Study
• Anna Bernante
• 22 Dicembre 2023

• Beyond the Image of Submission
  At the Origin of the Distorted Portrait of the Byzantine Emperor John V Palaiologos (r. 1354-91) in the Latin West
• Giulia D'Albenzio
• 22 Dicembre 2023

• Words For/Against Power
  Pietro Aretino’s Poetical Devices as Demystification of the Present
• Andrea Golfetto
• 22 Dicembre 2023

Me, Myself and I: Reframing the Concepts of Identity and Otherness

• Stay Hungry, Stay Foolish
  Deconstructing the Performance of Labour in the Bureau of Melodramatic Research
• Fabiola Fiocco
• 22 Dicembre 2023

• Gendered Allegories of Power and Warfare: Warrior Women as Personifications in Early Modern Art
• Elisa Stafferini
• 22 Dicembre 2023

Art, Patronage, and Prestige: Visual Representations of Power in the Modern Era

• Protected and Protecting
  Dual Relations between the Sapieha Family and the Miraculous Image of Our Lady of Kodeń
• Dagmar Vysloužilová
• 22 Dicembre 2023

• An Exercise of Style and Power
  Hans Holbein the Younger and the Painted Facade of the Hertenstein House in Lucerne (1517)
• Sandes Dindar
• 22 Dicembre 2023

Your Gaze Hits the Side of My Face: On the Image as Social Response and Counterculture

• Countercultural Images and Technological Visions in the Italian Alternative Press Around 1977
• Sara Molho
• 22 Dicembre 2023

• The Power of Contemporary Chinese Photography: Capturing Moments, Shaping Perspectives
• Fu Sen
• 22 Dicembre 2023

Unveiling Perception: Altered Reality Through Surveillance and AI Imagery

• Countersurveillance Aesthetic
  Resistance Through Wearable Technologies
• Irene Calvi
• 22 Dicembre 2023

• Poor Power Images in the Work of Hito Steyerl
• Jolanda Wessel
• 22 Dicembre 2023

Symbolism and Identity in Ancient Societies: Negotiating Power Through Material Culture

• The Power of Statues in Byzantium
  The Wooden Effigy of Saint George in Omorfokklisia as a Talismanic Device
• Elena De Zordi
• 22 Dicembre 2023

Crossing Boundaries: Exploring Interdisciplinary Practices and Moving Images

• The Object Looks Back: Paraesthetic Vision in Portrait de la jeune fille en feu and Optic Nerve
• Mansi Tiwari
• 22 Dicembre 2023

• Unseen Memories
  Exploring Imagery in Jeremy Deller’s We’re Here Because We’re Here and the 14-18 NOW Project
• Angelica Bertoli
• 22 Dicembre 2023

Cultural Institutions and Power: On the Relationship Between Museums and Politics

• The Rise of the Sursock Museum
  The Power of the Image to Create an Image of Power
• Ashraf Osman
• 22 Dicembre 2023

• ‘Il cappellino all’ultima moda’
  The Impossible Exhibition of the Peggy Guggenheim Collection in Turin
• Maria Novella Tavano
• 22 Dicembre 2023

Let Me Be Your Eyes: Investigations into the Phenomenology of Control

• Aby Warburg and the Political Iconography of Fascism: An Analysis of Symbols of Power
• Margherita Piccichè
• 22 Dicembre 2023

• Shifting Roles
  The Imperial Folk Arts and Crafts Revival’s Narratives at the Second All-Russian Kustar’ Exhibition (1913)
• Giulia Gelmi
• 22 Dicembre 2023

DC Field	Value
dc.identifier	ECF_chapter_19236
dc.contributor.author	Tavano Maria Novella
dc.title	‘Il cappellino all’ultima moda’. The Impossible Exhibition of the Peggy Guggenheim Collection in Turin
dc.type	Capitolo
dc.language.iso	en
dc.description.abstract	The aim of this essay is to draw attention to an almost unknown and yet very significant moment in the history of museums and exhibitions in Turin. The exhibition of the Peggy Guggenheim Collection, which, in actuality, never took place is, indeed, a sui generis litmus test of the political debate of the Italian post-war period. To reconstruct this episode were of fundamental importance various unpublished documents preserved both in the Archivio storico dei Musei Civici di Torino and in the Archivio Storico della Città di Torino.
dc.relation.ispartof	Quaderni di Venezia Arti
dc.publisher	Edizioni Ca’ Foscari - Venice University Press, Fondazione Università Ca’ Foscari
dc.issued	2023-12-22
dc.dateAccepted	2023-10-30
dc.dateSubmitted	2023-09-17
dc.identifier.uri	http://edizionicafoscari.it/it/edizioni4/libri/978-88-6969-771-5/il-cappellino-allultima-moda/
dc.identifier.doi	10.30687/978-88-6969-771-5/018
dc.identifier.eissn	2784-8868
dc.identifier.isbn
dc.identifier.eisbn	978-88-6969-771-5
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
item.fulltext	with fulltext
item.grantfulltext	open
dc.peer-review	yes
dc.subject	Palazzo Madama, Torino
dc.subject	Second Post War Period
dc.subject	The Peggy Guggenheim Collection
dc.subject	Venice Biennale
dc.subject	Vittorio Viale
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