Rivista di studi di fotografia. Journal of Studies in Photography https://oajournals.fupress.net/index.php/rsf <p><strong>The Rivista di Studi di Fotografia (RSF)</strong>&nbsp;is the six-monthly scientific peer-reviewed journal put out by the Società Italiana di Studi di Fotografia (SISF). It publishes articles on research and studies into photography, both historical and contemporary; articles on sources and the custodianship of photographs; reviews of books, events and exhibitions of particular importance to the development of study in this field. The scope of the journal is to gather together and promote the most up-to-date research on photography which is taking place both in Italy and abroad, with particular attention to the work of specialists in the field who introduce innovative approaches and share an interest in dialogue with other branches of knowledge.</p> Firenze University Press en-US Rivista di studi di fotografia. Journal of Studies in Photography 2421-6429 <p>Authors retain the copyright and grant the journal right of first publication with the work simultaneously licensed under a <strong>Creative Commons Attribution 4.0 International Public License (<a href="https://creativecommons.org/licenses/by/4.0/">CC-BY-4.0</a>)</strong>&nbsp;that allows others to share the work with an acknowledgment of the work's authorship and initial publication.</p> <p><a href="http://creativecommons.org/licenses/by/4.0/" rel="license"><img src="https://i.creativecommons.org/l/by/4.0/88x31.png" alt="Creative Commons License"></a><br>This work is licensed under a <a href="http://creativecommons.org/licenses/by/4.0/" rel="license">Creative Commons Attribution 4.0 International License</a></p> Editoriale https://oajournals.fupress.net/index.php/rsf/article/view/12243 <p>.</p> Tiziana Serena Copyright (c) 2020 Tiziana Serena https://creativecommons.org/licenses/by/4.0 2020-12-14 2020-12-14 5 10 4 7 10.36253/RSF-12243 Fotografie e istituzioni museali: il sistema della doppia copia e l’accumulo dei fondi. Le Regie Gallerie di Firenze, 1860-1906 https://oajournals.fupress.net/index.php/rsf/article/view/12245 <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Beginning in the late 1850s, photographic companies reproducing artworks kept in the Royal Galleries of Florence were required to submit copies of their work to the Ministry of Public Education and the museum’s director. This paper shows that while photographers obeyed the rule, their photographs were stored away and left mostly unused for over two decades before the process of creating a proper collection began in the 1880s. Countering traditional histories of how photographic collections were constituted, this paper analyzes bureaucratic practices of documentation and questions the status of photographs in 19th century museums.</p> </div> </div> </div> Marta Binazzi Copyright (c) 2020 Marta Binazzi https://creativecommons.org/licenses/by/4.0 2020-12-14 2020-12-14 5 10 10 35 10.36253/RSF-12245 Il patrimonio fotografico dell’Archivio Storico delle Gallerie Fiorentine: ragioni e provenienza di alcune fotografie dello stabilimento Brogi https://oajournals.fupress.net/index.php/rsf/article/view/12244 <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>This essay considers a selection of painting reproductions made by Brogi in the 1870s, as part of a larger study on the historical archive of the Florentine Galleries held by the Superintendence of Archaeology, Fine Arts and Landscape in Florence. Cross-referencing these photographs with written documents in the same archive and the commercial catalogs published by Brogi between 1863 and 1901, it is possible to determine that they were originally delivered in compliance with legal deposit regulations established by the new Ministry of Public Education in 1867. At the same time, this case study sheds new light on the connections between commercial photographers and art institutions in Italy in the second half of the 19th century, especially regarding the creation of public photographic archives and the role played by Corrado Ricci, the director of the Uffizi Galleries between 1903 and 1906.</p> </div> </div> </div> Chiara Naldi Copyright (c) 2020 Chiara Naldi https://creativecommons.org/licenses/by/4.0 2020-12-14 2020-12-14 5 10 36 58 10.36253/RSF-12244 La fotografia nel museo d’arte a fine Ottocento: sovrapposizioni e occasioni per una rinnovata filologia visiva. Alcuni spunti https://oajournals.fupress.net/index.php/rsf/article/view/12246 <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>The article deals with the effects of photography on the practices of art historians, focusing on some German cases. Photography, defined by Paul de Saint-Victor in 1887 as the “musée en action de l’art européen,” offered unprecedented opportunities for a renewed visual philology. Yet this evolution was more complex and less unidirectional than is generally thought. The illustrated publications of Gustav Scheuer in the 1860s attest to different ways of manipulating photographic images and illuminate the connections between photography and comparative methods, which initially concerned the relationships between original paintings and photographs much more than those among paintings themselves.</p> </div> </div> </div> Donata Levi Copyright (c) 2020 Donata Levi https://creativecommons.org/licenses/by/4.0 2020-12-14 2020-12-14 5 10 60 80 10.36253/RSF-12246 Conversazione illustrata in Sicilia (1953): una controversia fra Vittorini e Crocenzi https://oajournals.fupress.net/index.php/rsf/article/view/12247 <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Originally published in 1941, Elio Vittorini’s Conversazione in Sicilia – probably his most important novel – was republished in 1953 with the inclusion of 169 photographs commissioned to Luigi Crocenzi three years earlier. This new publication was followed by a harsh controversy between the writer and the photographer regarding the authorship of the book. This essay recontructs the dispute – a crucial moment in the definition of Italian photographic culture – through the correspondence held in Vittorini’s and Crocenzi’s personal archives and the ensuing comments published in the media.</p> </div> </div> </div> Angelo Pietro Desole Copyright (c) 2020 Angelo Pietro Desole https://creativecommons.org/licenses/by/4.0 2020-12-14 2020-12-14 5 10 82 99 10.36253/RSF-12247 Il patrimonio fotografico Alinari: excursus storico e questioni attuali https://oajournals.fupress.net/index.php/rsf/article/view/12248 <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Following the purchase by the Regione Toscana (2019), various possibilities arise for the reorganization and cultural destination of the Alinari photographic heritage. The essay outlines a historical excursus intended to illustrate the methods, phases and type of materials with which such an important archival-museum complex has been formed over time, always playing, in different ways, a particularly important role in Italian and international visual culture.</p> </div> </div> </div> Luigi Tomassini Copyright (c) 2020 Luigi Tomassini https://creativecommons.org/licenses/by/4.0 2020-12-14 2020-12-14 5 10 100 120 10.36253/RSF-12248 “Alle Hilfsmittel an der Hand”: note sulle prime fotografie collezionate da Aby Warburg https://oajournals.fupress.net/index.php/rsf/article/view/12249 <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>There is no evidence of a consistent theoretical position of Aby Warburg regarding photography, but his scattered notes on the subject allow for a deductive evaluation. The considerable use of photographs that he made in his work suggests a wide range of methodological approaches, with significant implications for the disciplinary and methodological definition of art history and the development of photographic documentation at the turn of the 20th century. This essay provides examples of Warburg’s early attention to photography, both as a research tool and a required piece of equipment for any research institute.</p> </div> </div> </div> Katia Mazzucco Copyright (c) 2020 Katia Mazzucco https://creativecommons.org/licenses/by/4.0 2020-12-14 2020-12-14 5 10 122 139 10.36253/RSF-12249 Mostra della Fotografia Italiana 1953. Ambizioni disattese del progetto di Giuseppe Cavalli https://oajournals.fupress.net/index.php/rsf/article/view/12250 <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>This essay proposes a reconstruction of the critical reception of the Mostra della Fotografia Italiana 1953 curated by Giuseppe Cavalli. Through the analysis of the main specialized periodicals, the article highlights the scarce incisiveness of the exhibition on the national photographic scenary, showing it, at the same time, as an event that appears obsolete and that represents the beginning of Cavalli’s decline in Italy.</p> </div> </div> </div> Lorena Santoro Copyright (c) 2020 Lorena Santoro https://creativecommons.org/licenses/by/4.0 2020-12-14 2020-12-14 5 10 140 153 10.36253/RSF-12250 Recensione di Pierangelo Cavanna/Francesca Mambelli (a cura di), Un patrimonio da ordinare. I cataloghi a stampa dei fotografi, Bologna, Fondazione Federico Zeri. Università di Bologna, 2019, ISBN 9788894047196 https://oajournals.fupress.net/index.php/rsf/article/view/12252 <p>.</p> Monica Maffioli Copyright (c) 2020 Monica Maffioli https://creativecommons.org/licenses/by/4.0 2020-12-14 2020-12-14 5 10 156 158 10.36253/RSF-12252 Recensione di Christina Riggs, Photographing Tutankhamun: Archaeology, Ancient Egypt, and the Archive, London, Bloomsbury, 2019, ISBN 9780857855077 https://oajournals.fupress.net/index.php/rsf/article/view/12251 <p>.</p> Nicoletta Leonardi Copyright (c) 2020 Nicoletta Leonardi https://creativecommons.org/licenses/by/4.0 2020-12-14 2020-12-14 5 10 158 160 10.36253/RSF-12251 Recensione di Pierre Schill, Réveiller l’archive d’une guerre coloniale. Photographies et écrits de Gaston Chérau, correspondant de guerre lors du conflit italo-turc pour la Libye (1911-1912), Grâne, Creaphis Éditions, 2018, ISBN 9782354281410 https://oajournals.fupress.net/index.php/rsf/article/view/12253 <p>.</p> Monica Di Barbora Copyright (c) 2020 Monica Di Barbora https://creativecommons.org/licenses/by/4.0 2020-12-14 2020-12-14 5 10 160 162 10.36253/RSF-12253