Luca Caburlotto dottore di ricerca, è Soprintendente per i beni storici artistici ed etnoantropologici del Friuli Venezia Giulia .

Massimo De Grassi è professore associato di Storia dell'arte contemporanea presso l'Università degli studi di Trieste.

Il volume raccoglie i contributi presentati al convegno di studi tenuto il 22 e 23 maggio 2014 presso la sede della Soprintendenza Regionale di Trieste che ha riunito studiosi di tutta Italia per fare il punto sull'ambiente in cui è maturata l'articolata vicenda artistica di Carlo Sbisà, approfondendone i percorsi di formazione e le frequentazioni tra Trieste, Firenze e Milano, le relazioni con l’architettura e il teatro e l’interesse per forme e tecniche espressive sinora prive di un sistematica lettura nell’ambito generale della sua attività.

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Now showing 1 - 5 of 16

Sbisà e la critica
(EUT Edizioni Università di Trieste, 2014)
Nuovo, Lorenzo
Carlo Sbisà’s work drew the attention of native of Trieste critics such as Silvio Benco, Umbro Apollonio, Manlio Malabotta, but also of painters and writers who had a leading role in the art debacle as Carlo Carrà, Raffaele De Grada, Sergio Solmi, or literary figures like Pier Antonio Quarantotti Gambini. Racing a detailed analysis of their texts, we can highlight the extent of Sbisà’s artistic production’s less known phases, as the still-life paintings from the Forties and the transition from painting to sculpture. Thus so, it is also possible to call into question some of the most rooted beliefs about the artist: above all his universally established “neoclassicism”.
703 1642
Carlo Sbisà ceramista
(EUT Edizioni Università di Trieste, 2014)
Stringa, Nico
626 2186
Sbisà e la grande decorazione
(EUT Edizioni Università di Trieste, 2014)
De Grassi, Massimo
The text examined the different moments of the artist in the field of decoration, passing, through the illustration of various unpublished material, from youth interests for the liberty’s cadences to the phase of the great mural painting in the thirties. A season that will continue in other forms on to the post-war, when Sbisà, working mainly for naval furniture and ecclesiastical buildings, will compete with sculpture and especially with the ceramic with results of absolute value, still largely to be reassessed.
761 1734
Un “San Giusto” per Monsignor Santin. Un concorso d'arte sacra nella Trieste del 1946
(EUT Edizioni Università di Trieste, 2014)
Marinig, Lucia
The topic of the text is a competition of sacred art bandit in Trieste (1946) for paintings and sculpures representing San Giusto, the patron saint of the city. In the section of the painting, fourteen works were selected. Among them, there is also the picture of Carlo Sbisà. The artists represented the iconography of San Giusto in very different way. Sbisà, for example, was inspired by the famous San Sebastiano by Antonello da Messina. The text also presents another painting of Carlo Sbisà, Le primule (Trieste, Palazzo della Prefettura), hitherto known only through literary sources.
990 1983
Carlo Sbisà e il teatro
(EUT Edizioni Università di Trieste, 2014)
Blaskovic, Costanza
Analyzing the relations between Carlo Sbisà and the world of theatre, seems obvious to me that his interest for the scenes was born in his first youth and this is attested also by some of his first draws, today in the family’s collection. Furthermore, during the 40s and the 50s, he worked on the sketches for Trittico, lyrical theatre piece set for the first time in Trieste in 1949. Those sketches are today stored in the collection of Theatre’s Museum “Carlo Schmidl” of Trieste and my studies wish to contextualize them among his career and in relation to his artworks. Thanks to this focus, I had the pleasure to discover how his personal life story has been connected to the sphere of culture, music and, in particular, theatre.
937 1216

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