Renaissance/-es. The Polyphony of the Canon between 1930s and 1940s
Marco M. Mascolo
Giovanni Bellini and Titian, The Feast of the Gods, oil on canvas. Washington DC, National Gallery of Art (gift of J.E. Widener to the National Gallery of Art, 1942)
The principal goal of this project would be to investigate the zones of contact, influences and exchanges between the academic and the museum discourse about the Italian Renaissance in the United States during the 1930s and the 1940s. What stimulated me were basic questions on the topic: What was the relation between scholars working to enrich museums' collections and scholars teaching in the universities? What were the exchanges between these two realities into which German émigrés had such a pivotal role? In the field of studies about German emigration particular attention was devoted to the redefinition of art history, as a whole, occurred in the 1930s, little has been said about the connections of the academic world with the museum one. Furthermore, the project aims to examine the exchanges between modernism and the concept of Renaissance, investigating overlaps and contact zones (or conflict) between the modernistic discourse and the historiographical narrative on the Renaissance.