Historically and art historically, Italian Renaissance and Baroque art have been our discipline’s foundational fields. From Heinrich Wölfflin to Bernard Berenson to Erwin Panofsky and beyond, one can’t begin to enumerate the many fine scholars in that field. What, then, could be the benefit of an “Italian issue” of The Art Bulletin now? And in what sense could it be more than a return to the preferred stomping grounds of such distinguished predecessors? The articles in this issue approach Italian art through various historical, cultural, and ideological moments, diverse methodological perspectives, temporal angles, and media. Though they arrived randomly as unsolicited submissions, they turned out to be oddly synchronized in their stubborn avoidance of set art historical conventions, boundaries of periodizations and specialties, and traditional aesthetic and material expressive means. Sarah McPhee’s meticulous iconological exploration of Giovanni Battista Falda’s famous 1676 map of Rome includes allusions to the (unlikely) pairing in the age of the Baroque of authoritarian papacy with the emblems of ancient Roman republicanism. Viewed through the eyes of the art critic Roberto Longhi in 1913, as Laura Moure Cecchini argues, that same Baroque culture became the platform that gave birth to the Futurist avant-garde as part of a discursive attempt to construct an unbroken national heritage that buttressed Italian geopolitical aspirations on the eve of World War I. Focusing on Giorgio de Chirico’s series of allegedly “claustrophobic” interiors created in Ferrara during World War I, Ara Merjian views them instead as the willfully cloistered sites that launched liberating remote explorations, a transcendent metaphysical experiment founded on the physical. The two final articles in this issue are situated on the eve of World War II and of Fascist cultural politics shaped by notions of “romanità” and “italianità.” These provided a platform, Andrée Hayum maintains, for the colossal “export,” under Mussolini’s auspices—part Fascist preening, part Fascist propaganda—of hundreds of Renaissance masterpieces to London’s 1930 Royal Academy of Arts exhibition. Romanità ideals also prompted, according to Michael Tymkiw, the creation of Luigi Moretti’s floor mosaics, inspired by ancient Roman pavements, that decorated the Piazzale dell’Impero, in the Foro Mussolini, a public means of imperialist indoctrination. Italian art? Yes. Ancient, Renaissance, Baroque, modern? Yes. But otherly.

中文翻译：

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那么这些天意大利呢？

在历史和艺术历史上，意大利文艺复兴和巴洛克艺术一直是我们学科的基础领域。从海因里希·沃尔夫林（HeinrichWölfflin）到伯纳德·贝伦森（Bernard Berenson）到欧文·帕诺夫斯基（Erwin Panofsky）以及其他地区，人们无法开始列举该领域的许多优秀学者。那么，现在《艺术公报》的“意大利问题”有什么好处？从什么意义上说，这不仅仅是回到这些杰出前辈的首选踩踏理由？本期文章通过各种历史，文化和意识形态时刻，不同的方法论视角，时间角度和媒体来探讨意大利艺术。尽管他们是不请自来的稿件而随机到达的，但在顽固地避免采用既定的艺术历史惯例，分期和专业范围，以及传统的美学和物质表达手段。莎拉·麦克菲（Sarah McPhee）对乔凡尼·巴蒂斯塔·法尔达（Giovanni Battista Falda）1676年著名的罗马地图的精心研究，包括对独裁罗马教皇时期巴洛克时期与古罗马共和主义象征的（不太可能）配对的暗示。正如劳拉·莫雷·切奇尼（Laura Moure Cecchini）认为的那样，从艺术评论家罗伯托·隆吉（Roberto Longhi）的眼光来看，1913年，同一巴洛克文化成为孕育未来派先锋派的平台，这是一次不屈不挠的尝试的一部分，目的是建设不间断的，继承了意大利人的传统第一次世界大战前夕的地缘政治志向。着眼于乔治·德·奇里科（Giorgio de Chirico）在第一次世界大战期间在费拉拉（Ferrara）创建的一系列所谓的“幽闭恐惧症”内饰，相反，Ara Merjian将它们视为故意隔离的场所，这些场所发起了解放性的远程探索，这是基于物理的超然形而上学实验。本期的最后两篇文章是在第二次世界大战和法西斯主义文化政治的前夕，这一概念由“浪漫主义”和“意大利主义”的概念构成。安德烈·海姆（AndréeHayum）维护着这些平台，为墨索里尼（Mussolini）主持下的巨大“出口”提供了平台，这是法西斯主义的装束，是法西斯主义的宣传，是伦敦1930年皇家艺术学院展览的数百种文艺复兴时期杰作的一部分。根据迈克尔·提姆基夫（Michael Tymkiw）的说法，浪漫主义的理想也促使路易吉·莫雷蒂（Luigi Moretti）的地板马赛克的创作受到古代罗马人行道的启发，装饰了墨索里尼岛（Foro Mussolini）上的德尔伊姆佩罗广场（Piazzale dell'Impero），这是帝国主义的一种公共灌输手段。意大利艺术？是的。古老的，文艺复兴时期，巴洛克，现代？是的。但是其他。