This paper deals with Dogaressa and Allegoria erotica, two works by painter Astolfo de Maria placed at Vittoriale degli Italiani, in the room called “della Leda”, d’Annunzio’s own bedroom. With the first of these two works, d’Annunzio always refused to part; he was personally involved in the peculiar framing of the second, a real tableau de chevet since it was placed at the head of his bed. Several theories have been put forward as regards the possible sources of the subjects of both paintings, apparently entirely unrelated, but none of d’Annunzio’s works has ever been identified as a precise source. This paper identifies the only source for both paintings in d’Annunzio’s play Sogno d’un tramonto d’autunno. It is the close connection between the literary work and the two paintings, and the meaning these must have had for d’Annunzio, that explain the two pictures’ role of objects d’affection and the peculiar place they had in the poet’s bedroom since the first arrangement of the rooms of Vittoriale.

D'Annunzio e due opere di Astolfo de Maria al Vittoriale

DAL CANTON, GIUSEPPINA
2014

Abstract

This paper deals with Dogaressa and Allegoria erotica, two works by painter Astolfo de Maria placed at Vittoriale degli Italiani, in the room called “della Leda”, d’Annunzio’s own bedroom. With the first of these two works, d’Annunzio always refused to part; he was personally involved in the peculiar framing of the second, a real tableau de chevet since it was placed at the head of his bed. Several theories have been put forward as regards the possible sources of the subjects of both paintings, apparently entirely unrelated, but none of d’Annunzio’s works has ever been identified as a precise source. This paper identifies the only source for both paintings in d’Annunzio’s play Sogno d’un tramonto d’autunno. It is the close connection between the literary work and the two paintings, and the meaning these must have had for d’Annunzio, that explain the two pictures’ role of objects d’affection and the peculiar place they had in the poet’s bedroom since the first arrangement of the rooms of Vittoriale.
2014
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11577/3177656
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