| Editor | Mario Broglio |
|---|---|
| Categories | Cultural magazine |
| Founder |
|
| Founded | 1918 |
| Final issue | 1922 |
| Country | Italy |
| Based in | Rome |
| Language |
Valori plastici (Italian : Plastic Values) was an Italian magazine published in Rome in Italian and French. The magazines existed between 1918 and 1922.
Valori plastici was established in Rome by the painter and art collector Mario Broglio and his wife Edita Broglio in 1918. [1] [2] [3] He also edited the magazine which focused on aesthetic ideals and metaphysical artwork. The magazine was modeled on the Bologna-based magazine La Raccolta . [4] It supported the art movement Return to order so as to create a change of direction from the extreme avant-garde art of the years up to 1918, taking its inspiration from traditional art instead. [5]
The term "return to order" to describe this renewed interest in tradition is said to derive from Le rappel a l'ordre, a book of essays by the poet and artist Jean Cocteau published in 1926. The movement itself was a reaction to the War. Cubism was abandoned even by its creators, Braque and Picasso, and Futurism, which had praised machinery, violence and war, was rejected by most of its followers. The return to order was associated with a revival of classicism and realistic painting.
The magazine theorised the retrieval of national and Italic values, as promoted by the cultural policies of fascism, but also looking at wider horizons within Europe and using a vivid artistic dialectics with a return to a classic figurative source.
Alberto Savinio, [6] in the 1st issue of Valori plastici on 15 November 1918, announced a programme of total individualistic, anti-futurist and anti-Bolshevik restoration. In his first article of April–May 1919, entitled Anadioménon, Savinio expounds the intellective and enigmatically atemporal intuition which animates the world of this new "metaphysical classicism". [7] Ardengo Soffici 's book Primi principi di una estetica futurista (Italian : First principles of a futurist aesthetic) was serialized in the November-December 1919 issue of the magazine before its publication by the publishing house Vallecchi in 1920. [4] [8]
Valori plastici ceased publication in 1922. [9]
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Futurism was an artistic and social movement that originated in Italy, and to a lesser extent in other countries, in the early 20th century. It emphasized dynamism, speed, technology, youth, violence, and objects such as the car, the airplane, and the industrial city. Its key figures included Italian artists Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Fortunato Depero, Gino Severini, Giacomo Balla, and Luigi Russolo. Italian Futurism glorified modernity and, according to its doctrine, "aimed to liberate Italy from the weight of its past." Important Futurist works included Marinetti's 1909 Manifesto of Futurism, Boccioni's 1913 sculpture Unique Forms of Continuity in Space, Balla's 1913–1914 painting Abstract Speed + Sound, and Russolo's The Art of Noises (1913).
Giuseppe Maria Alberto Giorgio de Chirico was an Italian artist and writer born in Greece. In the years before World War I, he founded the scuola metafisica art movement, which profoundly influenced the surrealists. His best-known works often feature Roman arcades, long shadows, mannequins, trains, and illogical perspective. His imagery reflects his affinity for the philosophy of Arthur Schopenhauer and of Friedrich Nietzsche, and for the mythology of his birthplace.
Post-expressionism is a term coined by the German art critic Franz Roh to describe a variety of movements in the post-war art world which were influenced by expressionism but defined themselves through rejecting its aesthetic. Roh first used the term in an essay in 1925, "Magic Realism: Post-Expressionism", to contrast to Gustav Friedrich Hartlaub's "New Objectivity", which more narrowly characterized these developments within German art. Though Roh saw "post-expressionism" and "magic realism" as synonymous, later critics characterized distinctions between magic realism and other artists initially identified by Hartlaub and have also pointed out other artists in Europe who had different stylistic tendencies but were working within the same trend.
Gino Severini was an Italian painter and a leading member of the Futurist movement. For much of his life he divided his time between Paris and Rome. He was associated with neo-classicism and the "return to order" in the decade after the First World War. During his career he worked in a variety of media, including mosaic and fresco. He showed his work at major exhibitions, including the Rome Quadrennial, and won art prizes from major institutions.
Alberto Savinio, born as Andrea Francesco Alberto de Chirico was a Greek-Italian writer, painter, musician, journalist, essayist, playwright, set designer and composer. He was the younger brother of 'metaphysical' painter Giorgio de Chirico. His work often dealt with philosophical and psychological themes, and he was also heavily concerned with the philosophy of art.
Ardengo Soffici was an Italian writer, painter, poet, sculptor and intellectual.
Giuseppe Prezzolini was an Italian literary critic, journalist, editor and writer. He later became an American citizen.
Novecento Italiano was an Italian artistic movement founded in Milan in 1922 to create an art based on the rhetoric of the fascism of Mussolini.
The return to order was a European art movement that followed the First World War, rejecting the extreme avant-garde art of the years up to 1918 and taking its inspiration from classical art instead. The movement was a reaction to the war. Cubism was partially abandoned even by its co-creator Picasso. Futurism, which had praised machinery, dynamism, violence and war, was rejected by most of its adherents. The return to order was associated with a revival of classicism and realistic painting. Though classicism had underpinned the fabric of most paintings for the short time it existed, traces of modernist ideals were still extant in the works of many artists, most notably Picasso and to a greater degree Georges Braque, who continued to delineate forms within a recognizable framework.
BÏF§ZF+18 Simultaneità e Chimismi lirici is a poetry book and artist's book published in 1915 by the Italian futurist Ardengo Soffici. Despite its rarity, the book has become famous as one of the finest examples of futurist 'words-in-freedom', and has been described as 'absolutely the most important book that came out of Florentine Futurism'.
Giovanni Lista is an Italian art historian and art critic, resides in Paris. He is a specialist in the artistic cultural scene of the 1920s, particularly in Futurism.
Emanuele Cavalli (1904–1981) was an Italian painter belonging to the modern movement of the Scuola Romana. He was also a renowned photographer, who experimented with new techniques since the 1930s.
Armando Spadini was an Italian painter and one of the representatives of the so-called Scuola Romana.
The Museo del Novecento is a museum of twentieth-century art in Milan, in Lombardy in northern Italy. It is housed in the Palazzo dell'Arengario, near Piazza del Duomo in the centre of the city.
Roberto Melli (1885–1958) was an Italian painter and sculptor to the Scuola Romana, and active in Ferrara and Rome.
La Voce was an Italian weekly literary magazine which was published in Florence, Italy, between 1908 and 1916. The magazine is also one of the publications which contributed to the cultural basis of the early forms of Fascism. It also contributed to the development of the concept of Europeanism.
Edita Broglio (1886–1977) was a Latvian artist known for her paintings in the genre of magic realism.
Baroness Hélèné d'Oettingen, born Elena Francezna Miaczinska, was a Russian-French painter and writer. Her father is believed to have been a Polish nobleman, but she supposedly acquired the baroness title through marrying a Baltic baron.
La Ronda was a literary magazine which existed in Rome, Kingdom of Italy, between April 1919 and November 1922. In December 1923 a special issue was also published.
La Raccolta was a monthly literary magazine which was published in Bologna, Italy, between March 1918 and February 1919. It was one of the significant platforms for the discussions about the development of a new approach towards Italian literary movements in the country during its run.
