AFAT (Arte in Friuli Arte a Trieste) è una rivista scientifica annuale fondata nel 1975 presso l'Istituto di Storia dell’Arte dell’Università di Trieste, ora Dipartimento di Studi Umanistici. Nel corso degli anni, la rivista ha prestato, e presta, grande attenzione ai temi emergenti del dibattito storico artistico medievale, moderno e contemporaneo, pubblicando saggi che esplorano numerosi territori tematici. AFAT si propone di rendere disponibili alla comunità degli studiosi e a un più vasto pubblico interventi inediti (la cui redazione scritta è sottoposta a peer review) su temi inerenti l’arte veneziana e non solo, riuniti sia in volume a stampa (EUT Edizioni Università di Trieste), sia in formato elettronico e liberamente accessibili online.
Hermann Bahr, in 1916, argued that the history of painting is the history of seeing. The technique changes
only when you change the way you see. The representation is modified to keep up with the changes in the way
of seeing, and the way we see it changes with the change in the relationship between man and world. The
psychologist Richard Nisbett, in 2003, supported the same thesis. According to Nisbett, the focus attention of the
“Western view” is on the most obvious objects, while the “Eastern view” captures the totality of the image and
the general context. Nevertheless, the discovery of the Western perspective by Japanese artists shows that they did
not change their “vision of the world”. The conceptualization of the world and the representation of space in the
Ukiyo-e prints are not connected: the representational techniques change over time and the artists adapt, time by
time, techniques of representation to the meanings that the artists want to communicate. These Japanese prints
demonstrate that there is no rigid cognitive process – western or Asian thinking – but they show, step by step, the
progress of the artistic research to discover new relationships between objects and space.
The author examines the pictorial milieu in which the education of the painter Augusto Tominz is
accomplished by publishing his first works of historical subject, including the unpublished Farewell by
Ettore Fieramosca to Ginevra di Monreale. The catalog of paintings by this artist is also published here
for the first time.
The study reconstructs the circumstances of the Sacristy’s decorations of Sant’Antonio church in Trieste,
commissioned to the painter Giovanni Kandler in 1835, named Nane (Trieste 1803-1865), brother of Pietro
Kandler. The historian painter, formed at the Venice Academy, works in one of the most important sites of the
city, in the first half of the nineteenth century, realizing a series of sacred lunettes. An occasion to specify, even
through archive research, the still unknown personality of the artist who in 1833 had painted a lost altarpiece
depicting Il martirio di San Sergio, in the church of San Giusto, of which some preparatory drawings were
The article is a deep understanding about a production not well known of Giulio Monteverde: portraits. The
result is that a notable sculptor of the period XIX-XXth Century in Italy was able not only to made historical or
allegorical subjects, but also a more private and informal portraits.