The first part of this article traces connections between Bruno Alfieri (1927–2008), a Milanese writer, editor and publisher, and Leo Castelli (1907–1999), the legendary New York art dealer who, from the 1950s until his death, specialized in avant-garde art in the United States. Alfieri contacted Castelli in 1960 to request information on artists that Castelli handled, with a view to featuring them in an American issue of Zodiac, an international architectural review. This contact led in turn to their collaborating on an issue of Metro – an art review edited by Alfieri – that featured Robert Rauschenberg (1925–2008), one of the leading artists in Castelli's gallery. Among the articles on Rauschenberg is one by the avant-garde composer John Cage (1907–1999), which reproduces a drawing that Castelli and Rauschenberg had given to Alfieri. The second part of the article studies this drawing, and concludes that it represents Rauschenberg’s studio in Lower Manhattan and depicts in it an imaginary retrospective comprising works that the artist considered fundamental to his identity. Among these are Rauschenberg's four-panel White Painting from 1951 and details from Satellite, Odalisk and Monogram, three Combines – works that combine aspects of painting and sculpture – made between 1955 and 1959. Running through the article are observations on how the Alfieri-Castelli partnership enhanced Rauschenberg's standing as an international artist. Indeed, Alfieri and Castelli's promotion of Rauschenberg was probably a factor contributing to his triumph at the 1964 Venice Biennale, at which he won the Grand Prize for Painting – the first American to do so.

中文翻译：

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Bruno Alfieri、Leo Castelli 和 Robert Rauschenberg：地铁和 Rauschenberg 进入意大利

本文的第一部分追溯了米兰作家、编辑和出版商 Bruno Alfieri (1927–2008) 与传奇的纽约艺术品经销商 Leo Castelli (1907–1999) 之间的联系，他从 1950 年代到去世，专门从事在美国的前卫艺术中。1960 年，Alfieri 与 Castelli 联系，要求提供 Castelli 处理的艺术家的信息，以期在美国的 Zodiac 杂志（一份国际建筑评论）中展示他们。这种接触反过来又导致他们合作出版了一期 Metro——由 Alfieri 编辑的艺术评论——以罗伯特·劳森伯格（Robert Rauschenberg，1925-2008 年）为主角，他是 Castelli 画廊的主要艺术家之一。在关于劳森伯格的文章中，有一篇是前卫作曲家约翰·凯奇 (John Cage，1907-1999) 的文章，它再现了卡斯特利和劳森伯格送给阿尔菲里的一幅画。文章的第二部分研究了这幅画，并得出结论，它代表了劳森伯格在曼哈顿下城的工作室，并在其中描绘了一个虚构的回顾展，其中包括艺术家认为对他的身份至关重要的作品。其中包括 Rauschenberg 1951 年的四幅白色绘画和来自 Satellite、Odalisk 和 Monogram 的细节，以及 1955 年至 1959 年间创作的三幅结合绘画和雕塑方面的作品。贯穿文章的是对 Alfieri-Castelli 的观察合作伙伴关系提升了劳森伯格作为国际艺术家的地位。事实上，阿尔菲里和卡斯特利对劳森伯格的宣传可能是他在 1964 年威尼斯双年展上取得胜利的一个因素，他在那里赢得了绘画大奖——这是第一个这样做的美国人。