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| Il Giornale dell'Arte | |
|---|---|
| Name | Il Giornale dell'Arte |
| Type | Weekly magazine |
| Format | Magazine |
| Founded | 1983 |
| Founder | Gian Alberto Dell’Acqua |
| Language | Italian |
| Headquarters | Milan |
Il Giornale dell'Arte is an Italian weekly magazine dedicated to art history, conservation, museum practice and the art market. Founded in 1983 by Gian Alberto Dell’Acqua, it reports on exhibitions, auctions, legal disputes, restorations and scholarship across Italy and internationally, engaging with institutions, curators, dealers and scholars from cities such as Rome, Milan, Florence, Venice and Paris as well as markets in London, New York City, Geneva and Hong Kong.
The magazine was established in 1983 in Milan amid debates surrounding collections at the Vatican Museums, restitution claims involving Nazi-era looted art and high-profile sales at Sotheby's and Christie's. Early coverage linked issues affecting the Uffizi Gallery, Accademia Gallery, National Gallery, London and Louvre while following legal cases like those connected to Nazi plunder and repatriation such as disputes involving objects from Greece and Egypt. Editorial attention expanded to conservation projects at Scuola Grande di San Rocco, archaeological interventions at Pompeii, and exhibitions like retrospectives of Pablo Picasso, Claude Monet, Caravaggio, Titian and Michelangelo. Through the 1990s and 2000s the magazine tracked market shifts tied to major collectors such as Peggy Guggenheim and institutions including the Guggenheim Museum, Museum of Modern Art, Tate Modern and Centre Pompidou.
Coverage spans reports on museums such as the British Museum, Metropolitan Museum of Art, Hermitage Museum, Prado Museum, Rijksmuseum and Pergamon Museum; auction houses like Sotheby's, Christie's, Bonhams and Philips; and art fairs such as Art Basel, TEFAF, Frieze Art Fair and Biennale di Venezia. The magazine publishes reviews of exhibitions devoted to artists including Leonardo da Vinci, Raphael, Sandro Botticelli, Rembrandt, Johannes Vermeer, Diego Velázquez, Francisco Goya, Édouard Manet, Vincent van Gogh and Jackson Pollock. It reports on conservation at sites tied to Andrea Palladio, Gian Lorenzo Bernini, Donatello and restoration campaigns like those for The Last Supper and mosaics in Ravenna. Legal and policy pieces have examined legislation such as Italy’s Codice dei beni culturali and cases before courts like the European Court of Human Rights, while features investigate collectors like Frick Collection founders and dealers tied to the Wildenstein firm and galleries such as Galleria Borghese and Hauser & Wirth.
Readership includes curators from the National Gallery of Art, directors of the Louvre Abu Dhabi, professionals at the Getty Museum, scholars from Courtauld Institute of Art, students at the University of Bologna, conservators at the Opificio delle Pietre Dure and staff at regional institutions such as the Peggy Guggenheim Collection and Palazzo Pitti. Subscribers involve institutions and individuals in cities including Florence, Venice, Naples, Turin, Bologna, Berlin, Madrid, Lisbon, Vienna, Athens and Istanbul. The magazine tracks auction results from New York Stock Exchange-listed auction houses and attendance figures for exhibitions at venues like Royal Academy of Arts, Museum of Fine Arts, Boston, Art Institute of Chicago and Los Angeles County Museum of Art.
Journalists and academics cite its reporting in debates about provenance for works associated with Holocaust-era theft, restitution negotiations involving Benin Bronzes, and disputes over objects from Benin and Cambodia. Coverage has intersected with investigative reporting on dealers linked to scandals such as those surrounding Giovanni Battista Piranesi prints, questioned attributions to Caravaggio and El Greco, and scholarship published in journals like The Burlington Magazine and Art Bulletin. The magazine's influence is visible in policy dialogues at meetings of institutions like the International Council of Museums and in discourse involving funding bodies such as the European Commission, Council of Europe cultural programmes and national ministries like Italy’s Ministero per i Beni e le Attività Culturali.
Contributors have included critics, historians and conservators who also publish with entities such as Thames & Hudson, Skira, Electa, Mondadori and academic presses at Cambridge University Press and Oxford University Press. Regular correspondents have professional ties to universities including Sapienza University of Rome, University of Oxford, Harvard University, Columbia University, Yale University, New York University and Smithsonian Institution. Coverage has featured interviews with directors like Alana Haim, curators affiliated with the Victoria and Albert Museum, restorers from Fitzwilliam Museum and scholars associated with the Institut National du Patrimoine.
The magazine and its staff have been acknowledged by organizations such as the International Council on Monuments and Sites, the European Association of Archaeologists and Italian cultural institutions including awards from Fondazione Benetton and prizes tied to the Biennale di Venezia. Reporting has been recognized in journalism awards administered by associations like the Federazione Nazionale Stampa Italiana and cited in prize deliberations for monographs awarded by societies such as the Società degli Amici dei Musei.
Category:Italian magazines Category:Art history journals