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i riferisco soprattutto a Gabriele d Annunzio e al suo interesse per la figura di Leonardo da Vinci, così come ai Futuristi, e al loro progetto di rinascita delle arti. 2 La letteratura critica relativa al rapporto tra le arti e la letteratura italiana di fine Ottocento e dei primi del Novecento si concentra, per lo più, sulle singole coppie di scrittori e pittori qui presi complessivamente in considerazione. Cfr. Irene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aurizio Fagiolo dell Arco, The Dioscuri: Giorgio de Chirico and Alberto Savinio in Paris, , Milano: A. Mondadori: Edizioni P. Daverio, 1987; \%.".#].0%#]%^%""?#A2"&-#3&/>&B)($<%4&32"&+"&C2(#(1/&D#/32"#8&E&32"&F/5(3(18&/> &

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erd Roos, Giorgio de Chirico e Alberto Savinio: ricordi e documenti: Monaco, Milano, Firenze , Bora/Bologna, Il sistema di pensiero di Georg Wilhelm Friedrich Hegel, concentrato soprattutto, ma non esclusivamente, nell insieme degli scritti pubblicati tra il 1806 e il 1830 (Fenomenolgia dello spirito, Scienza della logica, e Enciclopedia delle scienze filosofiche in compendio), ha profondamente influito sullo sviluppo delle arti dell'ottocento. Per un inquadramento dell influenza di Hegel sullo sviluppo dell estetica dell Ottocento cfr. almeno >01*)T#C"T()= #*$(+,$+'-(./&#.0123$-+'4'+5.6%").7/&+.+".8'$+9(-,$=#Q017#)17=# ;&0+<)$,)*P#;&0+<)$,)*#B0(-)*$(,N#@*)$$=#QRRKS#;"0*")#E7#C)&*1$!)N=#*$(+,$+'-(.6%"). :;/(('-/;.<%$$-$.+".+,$.=%$($&+>.U)T#V"*OP#A<)#;&+/(!!&0#E"/%&0NS#L"01"0P#E"!!()*W ;&+/(!!&0#L,17=#XYZZ7#Per un inquadramento storico della filosofia di Hegel cfr.#?*)1)*(+o# E7#C)($)*= #&#+.*&#1(= #?,$.:/)2%'#@$.:")A/&'"&.+".B$@$;>.# E&/6*(13)P#E&/6*(13)# B0(-)*$(,N#@*)$$=#XYYKS#E<&*!)$#A&N!"*=#B$@$;>.E&/6*(13)P#E&/6*(13)#B0(-)*$(,N#@*)$$7## 4 Auguste Comte, Cours de philosophie positive, Paris: Paris: Hermann, 2 vols., Per 2

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un inquadramento dell influenza del Positivismo sull' arte cfr. cfr. Nicola Abbagnano, Storia della filosofia. La filosofia moderna e contemporanea: dal Romanticismo all Esistenzialismo, cit., pp ; M#)4#-'D6'C-%4/!+-I& '!"#$%"$&'#()*+,(-./##&'/.( 0*""'"($+($%"(1*"#"2$3(1($6' 5 Alberto Abruzzese, Giorgio Tinazzi, e Marina Zancan, a cura di, Cinema e letteratura 3

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del neorealismo, Venezia: Marsilio Editori, 1983; Gian Piero Brunetta, Storia del cinema italiano, Roma: Editori riuniti, 2001; E-012*+2&'P0""!55$3'%&+#-0'*'20#0"&.&'0'2!-0'($3'/!, 0)*"1#,$"),2)((+%)3,4",#%(),",)!,0)*"1#,)(#!)#*+, :8;,:0+#$."$&12*""&3':*1#-&',*-' "O0-#*'L$*.&'A0-#*""$'Q':0+#*""&'<0+)!$1$3'R!"S'FT #B 'Q'U&7*%N*-'T #B 'IKKJ3'A$"01&V'MW$-0' *($#&-*3'IKKJ9 6 Ettore Spalletti, Gli anni del Caffè Michelangelo ( ), Firenze: De Luca Edizioni d Arte; Roma: Leonardo Editore, 1989; Da Courbet a Fattori. I princìpi del vero, :0+#$."$&12*""&3':*1#-&',*-'"O0-#*'L$*.&'A0-#*""$'Q':0+#*""&'<0+)!$1$3'FD'"!."$&'Q'F' 1&7*%N-*'IKKH3'A$"01&V'MW$-0'X($#&-*3'IKKH9 7 Alberto Maria Fortuna, a cura di, Gazzettino delle arti del disegno, Firenze: L. Gonnelli & Figli Editore, 1968.

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

12 7!"#$%&'&($$ $)(*++,-()./001(23))/(4566)78/97103(27 (!"#$%&'"%($)*" %27(:3;</-(=(/08>3()./001( &??/0?/(E32101(250F53(B7/(7)(B5883BB1(23)(:3;7BG1(70($?/)7/-(81BH(81G3()1(BE7)5441(23))/( 81))/61;/97103(?;/(2." (3(C78>3??7D('3(4;7G3(I1;G5)/97107(?31;78>3(23)(E3;1(3(23))/( ;3/)?J(?/0?1(27(2." (F5/0?1(27(C78>3??7(;7B30?101-(70I/??7-(I1;?3G30?3(23)).70I)5309/( 23)(:3;7BG1D(K3)(81;B1(23<)7(/007(&??/0?/-(?/)7(I1;G5)/97107(B101(B1??141B?3 (/2(50/( B7<07I78/?7E/(;3E7B7103D(L(/)(4/BB/<<71(2/(50/(23I (23)(E3;1(27(/B /(E3;7B?/(/( F53))/(4;14;7/(23)()70<5/<<71(B7G61)7B?/(27(2." (3(C78>3??7(8>3(=(23278/?1(F53B?1( B381021(8/47?1)1D( ( "))./)?399/(23)(*++,-(G30?;3(2." (=(/4430/(2787/BB3??3003-(C78>3??7(=(<7J( 50./;?7B?/(/II3;G/?1D(M53B?.5)?7G1(BE1)<3(250F53(50(;51)1(7G41;?/0?3(037(4;7G7(/007(27( I1;G/97103(23)(47N(<71E/03(B8;7??1;3D('/(81))/61;/97103(0/B83(3(B7(BE7)544/(/)).70?3;01( 23<)7(B4/97(23)(!30/81)1(27(A;/08/E7))/-()./67?/97103(4;7E/?/(23)(C78>3??7(8>3(7)(47??1;3( /E3E/(4;1<3??/?1(3(81B?;57?1(810().70?30?1(27(I/;03(50()51<1(27(B8/G671(?;/()3(E/;73(/;?7D( O." (E7(B7(;7I3;7B83-(70I/??7-(810(7)(01G3(27(P%3G471(23)).";?3DQ + ('/(81))/61;/97103(?;/ ( C78>3??7 ( 3 ( 2." ( B7 ( 8108;3?799/ ( B7/ ( 03))3 ( 810E3;B/97107 ( 4;7E/?3 ( /EE305?3( 8 Gabriele d Annunzio, Lettere a Giselda Zucconi, a cura di Ivanos Ciani, Pescara: Centro nazionale di studi dannunziani, 1985, lettera del 4 settembre del 1881, p. 215.

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ra il 1872 e il 1891, il filosofo Friedrich Nietzsche pubblica dei testi che hanno avuto un profondo impatto sullo sviluppo dell estetica di fine Ottocento e del Novecento. Tra i testi che, in modo diverso, hanno influito sullo sviluppo dell'arte degli artisti presi in considerazione nel corso di questa dissertazione vanno menzionati, almeno, La nascita della tragedia (1872), Al di là del bene e del male (1885), e Così Parlò Zarathustra (composto negli anni ma pubblicato nel 1891). Per le traduzioni in italiano cfr. Friedrich Nietzsche, La nascita della tragedia, traduzione di Sossio Giametta, Milano: Adelphi Edizioni, 1977, Al di là del bene e del male, a cura di Giorgio Colli e Mazzino Montinari, Milano: Adelphi Edizioni, 1977, Così Parlò Zarathustra, a cura di Giorgio Colli e Mazzino Montinari, Milano: Adelphi Edizioni, 1976 [1968]. Per un introduzione di carattere storico sul filosofo cfr. Nicola Abbagnano, Storia della filosofia. La filosofia moderna e contemporanea: dal Romanticismo all Esistenzialismo, op. cit., pp Per il contributo del filosofo allo sviluppo dell estetica di fine Ottocento e del Novecento 9

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cfr. almeno 6/1*&U$Q(U"&: $()*"+)"&,*'-./'!012),"&3&"4'5$#6'7-."'"#'8&)"9*,+):$!"+3V$ D(/*(&$L3$Q&,*1)'&W:$()*"+)"&,*'5$#6':;-**&,-;'<$)),)'"#'"+)'=$)*).">'!"+3 11 Gabriele d Annunzio, Trionfo della morte, in Prose di romanzi, Vol. 2, Milano: Mondadori, 2005 [1988], p Gabriele d Annunzio, Trionfo della morte, cit., p. 639.

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ra il 1889 e il 1907 Henry Bergson pubblica Saggio sui dati immediati della coscienza (1889), Materia e memoria (1896), il Riso (1900), e L evoluzione creatrice (1907), testi che hanno avuto una decisiva influenza sullo sviluppo del Futurismo. Cfr. le traduzioni in inglese disponibili nelle seguenti edizioni: J%#(/+@%(<-"#*+3'1()%#$)!0(()4'..5)6#)7,,%8) "#)-9():11($'%-();%-%)"+)<"#,='"/,#(,,*+$()#-,)$%1+5K+B343+N"<-"#*+F"#$)#)O+P%--/#<%(+ N.5,/-=/#<+Q"&')#K*+R99S+T7879U* +>%/?9-(05)6#)7,,%8)"#)-9()*(%#'#?)"+)-9()<"1'=*+ $()#-,)$%1+5K+Q,".1-,%K+@(%(%$"#+)#1+B(%1+V"$=W%,,*+4"-+E#<%,%-O+X(%%#+Y#$%<%(*+7888*+ *%--(0)%#$)*(1"08*+$()#-,)$%1+5K+Z3F3+N).,+)#1+[3G3+N),&%(*+Z%W+\"(]O+^"#%+@""]-*+ 788_*+39()=0(%-'@()1'#$*+$()#-,)$%1+5K+F)5%,,%+43+E#1/-"#*+Z%W+\"(]O+X(%%#W""1+N(%--*+ 78`S+T78_`U3++ 11

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a citazione è tratta da 12".&$,32$24'(%&2+&56'.&'7"#8*"9&$20'.0##:"%*0'+$2*0,5$%"20";' KCDCDL3 'uno degli articoli di Savinio pubblicati su Valori Plastici, ed ora ristampato in Alberto Savinio, <"'2")+&*"'.&'!020%04'=+%&**&')8##:"%*03','4)*,'%!'R!)($--$'M&"#$(,"&'$' S!"4$".&'I*!&"$3'M!+,"&T'8%$+-<!3'GUUV3 p

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lberto Savinio, +,(-($#"..($/($0(&1#10("$/2&&2$",)($342,$56"7/1$.&($()"&("7($#($#","771 $ "8()6")($"$427#",29.*OEJPEQ.*$'*I,/)#3"*:+7$'$".*:"$7"#;()"$/($'272,2<$=;,())($#6&&>",)2.*!$35.* p. 99.

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nrico Ghidetti, L ipotesi del realismo. Storia e geografia del naturalismo italiano, Milano: Sansoni, 2000; Toni Iermano, a cura di, Positivismo, Naturalismo, Verismo. Questioni teoriche e analisi critiche, Roma: Vecchiarelli editore, 1996; Vittorio Spinazzola, Verismo e Positivismo, Milano: Arcipelago Edizioni, 1993 [1977]; 17 %Q%5$(%("2"%./4(2"%7","%9$6)4%4#4**$%'$%$20,-$22$%$%./4(2"%76$1$60**$%60,"("*,$6*08%70R%,-$%,"#$%*,6022"6$%B$60*248%,"#$%*,6022"6$%&$'%B$6";%S%./$*2"%76"7"*02"8%si veda la lettera a Felice Cameroni del 15 luglio 1875 ristampata in Enrico Ghidetti, Verga guida storicocritica, Roma: Editori Riuniti, 1979, p. 51.

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l Caffè Michelangiolo aprì attorno al 1848 e chiuse nel Per la storia del Caffè Michelangelo Cfr. Ettore Spalletti, Gli anni del Caffè Michelangelo ( ), Firenze: De Luca Edizioni d Arte; Roma: Leonardo Editore, Per una presentazione dei Macchiaioli in relazione al contesto storico, politico, e sociale italiano di fine Ottocento cfr. Norma Broude, The Macchiaioli: Italian Painters of the Nineteenth Century, New Haven: Yale University Press, 1987; Albert Boime, The Art of the Macchia and the Risorgimento: Representing Culture and Nationalism in Nineteenth-Century Italy, Chicago: University of Chicago Press, 1993; Edith Tonelli and Katherine Hart (eds), The Macchiaioli: painters of Italian life, , Los Angeles: Frederick S. Wight Art Gallery, University of California, Los Angeles, Pierre-Joseph Proudhon, Du principe de l'art et de sa destination social, Paris: Garnier frères, Per una ricostruzione storica della nascita e dello sviluppo dei Macchiaioli, e del loro rapporto con la pittura francese cfr. Francesca Dini ed Ettore Spalletti, mostra e catalogo a cura di, Da Courbet a Fattori, I princìpi del vero, Castiglioncello, Centro per l arte Diego Martelli Castello Pasquini, 16 luglio 1 novembre 2005, Milano: Skira Editore, 2005; Francesca Dini, (catalogo della mostra a cura di), I Macchiaioli. Sentimento del vero, Roma, Chiostro del Bramante, 11 ottobre febbraio 2008, Milano: Silvana Editoriale Spa, 2007; Fernando Mazzocca e Carlo Sisi, catalogo e mostra a cura di, I Macchiaioli prima dell Impressionismo, Padova, Palazzo Zabarella, 27 settembre 8 febbraio 2004, Venezia: Marsilio Editori,

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fr. Andrew Bowie, Aesthetics and Subjectivity from Kant to Nietzsche, cit.; Monroe C. Beardsley, Aesthetics from Classical Greece to the Present, cit.; Frederick C. Beiser, a cura di, The Cambridge Companion to Hegel, cit.; Charles Taylor, Hegel, (+/B% 22 Sull importanza della figura di Diego Martelli tanto per il gruppo dei Macchiaioli, quanto per lo sviluppo della storia dell arte italiana della seconda metà dell Ottocento cfr. Francesca Dini e Piero Dini, a cura di, Diego Martelli: storia di un uomo e di un epoca, Torino: Umberto Allemandi & C., 1996; Francesca Dini ed Ettore Spalletti, mostra e catalogo a cura di, Dai Macchiaioli agli Impressionisti: l opera critica di Diego Martelli, Museo Civico Giovanni Fattori, Livorno, 3 ottobre gennaio 1997, Firenze: 21

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rtificio Edizioni S.r.l., 1996; Francesca Dini ed Ettore Spalletti, mostra e catalogo a cura di, Diego Martelli, l amico dei Macchiaioli e degli Impressionisti: mostra fotograficodocumentaria, Castiglioncello, Castello Pasquini, 3 agosto 31 ottobre 1996, Firenze: Casalini Libri, 1996; Piero Dini, a cura di, Diego Martelli, Firenze: Il Torchio, Diego Martelli, Sulla pubblica mostra di Belle Arti della nuova Società promotrice in occasione del centenario di Dante, in L Avvenire, anno I, 8-9 Giugno 1865, ristampato in Francesca Dini (catalogo della mostra a cura di), Da Courbet a Fattori. I princìpi del vero, /#*C'$p. 246 [grassetto mio].

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elemaco Signorini, Del fatto e del da farsi nell arte, in La Nuova Europa, 2 agosto 1863, ristampato in Francesca Dini (catalogo della mostra a cura di), Da Courbet a Fattori. I princìpi del vero, cit., p. 246 [grassetto mio].

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iego Martelli, Arte che sia?, in Gazzettino delle arti del disegno, a cura di Alberto Maria Fortuna, Firenze: L. Gonnelli & Figli Editore, 1968, p. 97.

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iego Martelli, Gazzettino delle arti del disegno, cit., p. 130.

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elemaco Signorini, I quadri dei signori Fattori, Lega e Borrani, in Diego Martelli, Gazzettino delle arti del disegno, cit., pp , [grassetto mio].

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rticolo incluso in Telemaco Signorini, Zibaldone, Firenze: Sillabe,