Roberto Longhi
| Roberto Longhi | |
|---|---|
Longhi in around 1960
|
|
| Born |
December 28, 1890 Alba, Piedmont |
| Died | June 3, 1970 (aged 79) Florence, Italy |
| Residence | Il Tasso, Florence |
| Nationality | Italian |
| Fields | art history |
| Patrons | Count Alessandro Contini Bonacossi (1878-1955) |
| Alma mater | University of Turin |
| Thesis | (1911) |
| Doctoral advisor | Pietro Toesca |
| Notable students | Giovanni Previtali, Luciano Bellosi |
| Known for | Scholarship on Caravaggio and Piero della Francesca. |
| Spouse | Lucia Lopresti (1895-1985) |
|
Website Fondazione di Studi di Storia dell'Arte Roberto Longhi |
|
Roberto Longhi (December 28, 1890 in Alba – June 3, 1970 in Florence) was an Italian academic and art historian. The main subjects of his studies were the painters Caravaggio and Piero della Francesca.
Longhi was born in December 1890, at Alba in Piedmont. His parents were from Emilia. He studied under Pietro Toesca, in Turin, and Adolfo Venturi in Rome. The latter made him editor of book reviews at the journal L'Arte, by 1914. Between 1913 and 1917, Longhi, primarily an essayist, published in L'Arte and La Voce, essays on Mattia Preti, Piero della Francesca, Orazio Borgianni and Orazio Gentileschi.
Roberto Longhi developed a fascination with Caravaggio and his followers; his Quesiti caravaggeschi [Caravaggio questions] (1928–34), was followed by the Ultimi studi caravaggeschi [Latest Caravaggio research] (1943). In 1951, Longhi curated a ground-breaking exhibition on Caravaggio in Milan, followed by an artist monograph in 1968.
Whilst establishing himself as a notable Caravaggio scholar, Longhi retained a lively interest in Piero della Francesca, publishing a monograph in 1928, representing him as the leading painter of the Quattrocento. He believed Piero played a decisive role in the development of Viennese painting. This monograph, which Kenneth Clark opined could hardly be improved upon, is a classic of art-historical literature.
Between 1920 and 1922, Longhi made a Grand Tour of Europe (reaching Great Britain only much later). He never visited Russia, nor some American collections, like the Kress Collection of the National Gallery, Washington. However, his first-hand viewing of many works, like those in the Borghese Gallery in Rome, led to the rediscovery of many lost masterpieces (such as two panels of a Giotto altarpiece).
...
Wikipedia