About

LA DIANA is the journal of the School of Specialization in Art History of the University of Siena (SSBSA), now in a new online edition. A space for discussion of the research work carried out by the School, it is open to contributions of Italian and international scholars interested in sharing the results of their investigations in a transgenerational perspective.

LA DIANA supports and promotes different views on contemporary practices of art history, within a special attention to the contexts of production and reception of artworks and to the history of culture and ideas.

Editor-in-Chief

Prof. Davide Lacagnina, University of Siena, Italy

Autorizzazione del Tribunale di Siena | Registro dei Periodici n. 4 del 26/02/2021, Direttore responsabile Sara Lilliu

ISSN: 2784-9597


The Call for Papers is out now and submissions can be handed in till October 31, 2024. 
All information are in the Call for Papers Section

Current IssueNo 7-8 (2024): Il Surrealismo e la cultura italiana. La critica, le mostre, le ricerche degli artisti

Published March 13, 2025

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Table of Contents

Editorial

Editorial
Davide Lacagnina
5-6
DOI: https://doi.org/10.36253/ladiana-3369
Introduction
Davide Lacagnina, Alessandro Nigro, Ilaria Schiaffini
8-19
DOI: https://doi.org/10.36253/ladiana-3402

Studies

Carlo Bo, Paul Éluard and surrealist art (1935-1945)
Carlotta Castellani
20-41
DOI: https://doi.org/10.36253/ladiana-3371
Reflections of Surrealism in Raffaele Carrieri’s critical work: forms, times, contexts
Viviana Pozzoli
42-58
DOI: https://doi.org/10.36253/ladiana-3373
«Direzioni», «Evento», «I 4 SOLI»: The «revues italiennes d’avant-garde» and the cooperation with «Il Gesto» and «Phases»
Angela Sanna
59--76
DOI: https://doi.org/10.36253/ladiana-3375
Reflections on the relationships between Sergio Dangelo and E.L.T. Mesens in the post-war period: from Surrealism to Dadaism (via Schwitters)
Caterina Caputo
77-95
DOI: https://doi.org/10.36253/ladiana-3377
Surrealism after Informalism in the eyes of Luigi Carluccio and Enrico Crispolti
Claudio Zambianchi
96-104
DOI: https://doi.org/10.36253/ladiana-3379
«Anonymous, XX Century»: Italian Re-Enactments of Magritte’s Works, 1967-1970
Giorgio Di Domenico
105-118
DOI: https://doi.org/10.36253/ladiana-3381
Salvador Dalí and the 1954 Venice Biennale: background, diplomatic relations and business strategies
Eleonora De Giovanni
119-132
DOI: https://doi.org/10.36253/ladiana-3383
The First Exhibition of Italian Surrealism (Rome, 1957). Ambitions, Misunderstandings and Historiographical Misfortune
Manuel Barrese
133-153
DOI: https://doi.org/10.36253/ladiana-3385
A special observatory for the diffusion of Surrealism in Italy in the Sixties: Finarte contemporary art auctions in Milan
Alessandro Nigro
154-172
DOI: https://doi.org/10.36253/ladiana-3388
«A delightful chaos in a restless brain». The Italian old masters and the young Max Ernst
Davide Lacagnina
173-197
DOI: https://doi.org/10.36253/ladiana-3390
Circular Time, Frida Kahlo and the Renaissance
Alba Romano Pace
198-219
DOI: https://doi.org/10.36253/ladiana-3392
The beginning of Fabrizio Clerici's career, both in Italy and internationally. The tale of an artist who was visionary and eccentric
Giulia Tulino
220-241
DOI: https://doi.org/10.36253/ladiana-3394
Travel Photography in the Visual Imagery of Eugene Berman
Ilaria Schiaffini
242-266
DOI: https://doi.org/10.36253/ladiana-3396
«An ordinary maladjustment»: gender identity in Massimo Campigli’s shows at the Julien Levy Gallery
Raffaele Bedarida
267-284
DOI: https://doi.org/10.36253/ladiana-3398
(Un)orthodox Surrealists: Robert Rauschenberg, Paul Thek, and the queer strategies of Eugene Berman, Corrado Cagli, and the Neoromantic circle in Rome
Peter Benson Miller
285-298
DOI: https://doi.org/10.36253/ladiana-3400
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