«Così la pittura sarebbe corpo della poesia e la poesia anima della pittura». La storiografia artistica femminile in Italia dalle origini alla Scuola di Bologna. (Corsican)

Historical prejudice about the ability of the female gender to enter liberal professions, make judgments and elaborate theories has long weighed in the elaboration of a feminine art history, which, indeed, has yet to be largely investigated. Beginning with early 17th-century sources, the contribution reconstructs the most consistent clues of a feminine art historiography, which from the end of the 18th century, when odeporic literature gave space to the description of landscapes, cities and works of art by figures such as Elisabeth Vigée Le Brun or Madame De Staël, through the analysis of texts by Matilde Serao, Anna Franchi, and Maria Bellonci, arrives at the fundamental work of Vera Fortunati. Picking up the legacy of the American historians Linda Nochlin and Ann Sutherland Harris, the scholar is in fact credited with founding the Documentation Center on the History of Women Artists in Bologna, founded in 2007, which constitutes the most important Italian engine of knowledge and popularization related to this specific field. [ABSTRACT FROM AUTHOR]

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