Lavoro e paesaggio nella grafica veneta del Novecento. Il segno del cambiamento

This thesis explores a segment of 20th century Venetian printmaking, specifically focusing on the pivotal concepts of “work” and “landscape”. It aims to examine the interpretation of the Venetian landscape as presented by thirteen masters, active in both chalcographic and xylographic fields, drawing connections with other expressive forms such as literature and photography. Prior research has not extensively investigated the output of Venetian engravers from the last century through the specific lens of the “work-landscape” relationship, thus rendering the applied methodology as unprecedented. Given the unique nature of the theme, a “topographical” catalogue has been developed, traversing particularly symbolic locations. The objective is to reconstruct, through a predominantly black and white visual journey, the various manifestations of the engraved landscape throughout the twentieth century, whilst considering the cultural context in which individual artists operated and their mutual influences. Art printing, understood as an original form of expression, underwent a significant and challenging process of critical re-evaluation from the late 19th century onwards. This was particularly fostered in the Triveneto region by the undeniable qualitative excellence achieved by the masters featured in this catalogue. For some of these artists, their contribution to the field of printmaking extends beyond mere technical prowess – demonstrated over several decades in their unique poetics – to encompass a dimension of social commitment. This activism, defined by Giorgio Trentin as “political-cultural”, found its formal recognition with the establishment of the Associazione Incisori Veneti (1954). The thesis is made of two distinct parts. The first volume introduces the “landscape” phenomenon from a multidisciplinary perspective, drawing insights from sociological, economic, and art-historical studies. This is followed by a concise analysis of the transformations that impacted the Italian and Venetian landscape during the 20th century, achieved through a comparison of works and reflections by the Veronese geographer Eugenio Turri. This section concludes with a focused exploration of 20th century literary production, featuring selected passages that offer evocative descriptions of the Venetian landscape. The second chapter commences with a brief overview of the 18th century Venetian engraving scene, subsequently tracing the critical acclaim that this expressive medium garnered from the late 19th century, partly due to the numerous initiatives promoted by the Neapolitan critic Vittorio Pica. Key developments in the resurgence of engraving are identified, including the Etching Revival, the “bianco e nero” exhibitions at the Venice Biennale (from 1895), and the establishment of the Scuola libera d’Incisione at the Venetian Academy of Fine Arts (1912). This is followed by an analysis of the activities undertaken by the Associazione Incisori Veneti (1954-2012) and the pivotal role played by Giorgio Trentin as its proponent. The second volume forms the true “heart” of the thesis, containing the topographical catalogue of engravings. The works are arranged along an ideal route, beginning in the heart of Venice, winding along the Grand Canal and the lagoon, and then moving through the most evocative locations of the Venetian landscape. A substantial final section is dedicated to industrial landscapes.