The paper illustrates the reconstructive and staging practices promoted by Innocenzo Dall’Osso during the direction of the National Archaeological Museum of the Marche Regioni for the return to the public of the very rich testimonies coming from the burial areas of Ancient Piceni. The reconstruction was adopted by the Emilian archaeologist as a museum to give plastic evidence to the uninterrupted participation of a territory, only apparently peripheral, to the macrohistory. The artefacts of excavation, signs of luxury, identitarian and sacred, reproduced in glass, celluloid and other materials of modernity, found a form of narrative accessible to the general public in mannequins dressed for the exhibition called “Museo Piceno” staged at the Villa Reale in Milan in 1914.
«Milano si diverte…». Il “Museo Piceno” all’Esposizione Marchigiana del 1914 e l’allestimento ricostruttivo di Innocenzo Dall’Osso
Caterina Paparello
Membro del Collaboration Group
2019-01-01
Abstract
The paper illustrates the reconstructive and staging practices promoted by Innocenzo Dall’Osso during the direction of the National Archaeological Museum of the Marche Regioni for the return to the public of the very rich testimonies coming from the burial areas of Ancient Piceni. The reconstruction was adopted by the Emilian archaeologist as a museum to give plastic evidence to the uninterrupted participation of a territory, only apparently peripheral, to the macrohistory. The artefacts of excavation, signs of luxury, identitarian and sacred, reproduced in glass, celluloid and other materials of modernity, found a form of narrative accessible to the general public in mannequins dressed for the exhibition called “Museo Piceno” staged at the Villa Reale in Milan in 1914.File | Dimensione | Formato | |
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Paparello C., «Milano si diverte…». Il “Museo Piceno” all’Esposizione Marchigiana del 1914 e l’allestimento ricostruttivo di Innocenzo Dall’Osso_2019.pdf
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