La scrittura odeporica di Marianna Dionigi pittrice di paesaggio, archeologa e viaggiatrice per le città megalitiche del Lazio meridionale
Author(s)
Ricci, Antonello
Date Issued
April 15, 2011
Type
Doctoral Thesis
Abstract
Marianna Dionigi (1757 - 1826) was a landscape painter, archeologist, cultural promoter, and well
appreciated travel writer. She published two books that gave her a good reputation: a pamphlet on
Precetti sulla pittura de´ paesi (1816) and Viaggi in alcune città del Lazio che diconsi fondate dal
re Saturno (1809 – 1812).
Conversations that used to be held in her Roman literary salon were attended by antiquarians,
archeologues, poets, artists, epoch caracters between neoclassic instances and a new romantic
sensitivity: from Monti and Leopardi to Shelley Visconti Canova.
The complexity of Dionigi`s eclectic intellectual profile was not to be even fully understood by
those few students that would study the writer successively. Their studies were basically based on
the reductio ad unum principle: the archeologists studied Dionigi as archeologist and antiquarian,
the art historians did Dionigi as artist.
This work for the first time is looking to represent her in her wholeness as artist, focusing on the
most neglected element of her work: writing (especially the odeporic one).
The research brought to light not only a conscious and literally committed use of writing by the
author, but also the continuous imposition of her written page as hyperbaric chamber among
different self representations often in “friction” one another and to other instances wich have an
objective report of archeological-antique matrix constantly destabilized by subjective moods and
feelings.
The thesis contains four chapters.
Chapter one develops Dionigi`s “reasoned” biography. it was chosen a cronological setting for the
narration whereas the materials are organised by themes, in order to distinguish the most this work
about Dionigi from all the others.
The second chapter is about Dionigi the artist and theorist of the landscape painting. From one side
it emerges a trully “quantum jump” through her creative journey, marked by the experience of the
drawings for the illustrations of Viaggi. On the other side, a remarkable pictorial re-use of the
literary word as compensatory and vicar form of the painting itself.
In the third chapter, it was intended to describe Dionigi the archeologist, review her contribution to
the archeological debate of the time by following a paradigm peculiarly odepodic-literary: avoiding
falling into an acritic supremacy acknowledged to its contents as such and in a sub specie
archeologica reduction of the Viaggi.
Finally, the forth capther is dedicated to the Viaggi esclusively analysed under the odepodic-literary
profile.
Additional information
Dottorato di ricerca in Storia e cultura del viaggio e dell'odeporica nell'età moderna
Subjects
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