This essay discusses how the initiatives promoted by art dealers Catherine Viviano and Irene Brin in the US changed the promotional strategies as well as the interpretive approach for contemporary Italian art. Through fashion magazines, TV shows, Hollywood movies, and touring exhibitions they reached a new type of public and collectors, outside of the East Coast art world. Having abandoned the postwar rhetoric of a penitent, poor country emerging from the ashes of WWII, they embraced a new image of an international, glamorous, modern Italy, in line with prime minister Amintore Fanfani's neo-Atlanticist foreign politics. The essay ends with art historian Lionello Venturi's touring exhibition Italian Painting, 1945-1957, in which that image received the institutional stamp of approval.
Eterna primavera: Catherine Viviano, Irene Brin and Italian art's conquest of Hollywood / Bedarida, R. - (2021), pp. 204-222.
Eterna primavera: Catherine Viviano, Irene Brin and Italian art's conquest of Hollywood
Bedarida R
2021
Abstract
This essay discusses how the initiatives promoted by art dealers Catherine Viviano and Irene Brin in the US changed the promotional strategies as well as the interpretive approach for contemporary Italian art. Through fashion magazines, TV shows, Hollywood movies, and touring exhibitions they reached a new type of public and collectors, outside of the East Coast art world. Having abandoned the postwar rhetoric of a penitent, poor country emerging from the ashes of WWII, they embraced a new image of an international, glamorous, modern Italy, in line with prime minister Amintore Fanfani's neo-Atlanticist foreign politics. The essay ends with art historian Lionello Venturi's touring exhibition Italian Painting, 1945-1957, in which that image received the institutional stamp of approval.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
