This essay examines selected aspects of the historiographical method of Alessio Monciatti, highlighting its validity beyond the field of medieval art history. At its core, drawing emerges as a cognitive and projectual device that transforms the artist from executor into author. Through the works of Giotto and Giorgio de Chirico, extending to contemporary practices, a genealogy of the image as an intellectual construction is traced, reaffirming the centrality of the hand, design, and thought even in the digital age.
Il saggio analizza alcuni aspetti del metodo storiografico di Alessio Monciatti, evidenziandone la validità oltre l’ambito della storia dell’arte medievale. Al centro emerge il disegno come dispositivo conoscitivo e progettuale che trasforma l’artista da esecutore ad autore. Attraverso Giotto e Giorgio de Chirico, fino alle pratiche contemporanee, si delinea una genealogia dell’immagine come costruzione intellettuale, riaffermando la centralità di mano, progetto e pensiero anche nell’era digitale.
Comporre le immagini. Il metodo contemporaneo di Alessio Monciatti
lorenzo canova
2025-01-01
Abstract
This essay examines selected aspects of the historiographical method of Alessio Monciatti, highlighting its validity beyond the field of medieval art history. At its core, drawing emerges as a cognitive and projectual device that transforms the artist from executor into author. Through the works of Giotto and Giorgio de Chirico, extending to contemporary practices, a genealogy of the image as an intellectual construction is traced, reaffirming the centrality of the hand, design, and thought even in the digital age.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
