This thesis is dedicated to the Trieste-born painter Carlo Sbisà (1899–1964) and focuses on the creation of a comprehensive catalogue of his graphic works, including drawings, etchings, drypoints, and linocuts, as well as other productions related to publishing and advertising. The research fits within the broader context of critical and monographic studies devoted to the artist, which developed significantly particularly after World War II and focused exclusively on his painting, up to the more recent publications at the end of the 1990s and early 2000s, which recorded the first partial contributions specifically concerning his graphic repertoire. The study therefore aims to update and expand knowledge about the artist’s graphic work, restoring both its coherence and visibility, thanks also to the discovery and analysis of documentary sources, unpublished materials, and the identification of around 600 works, nearly half of which have never been published or studied, coming from public and private collections as well as from the artist’s family archive. The cataloguing has been enriched by an analytical approach that considers elements so far little or never examined, such as the technical and material nature of the sheets, the characteristics of the supports, the types of graphic media used, the presence of watermarks, and information concerning the provenance of the works and their exhibition in solo or group shows. To complete the work, some unpublished documents from important archival institutions, such as the Apice Centre Archive at the University of Milan and the Sbisà Archival Collection in Trieste, have been fully transcribed and published, shedding light on biographical and professional aspects. The results of the study thus aim to substantially redefine the role of Carlo Sbisà’s graphic production from its beginnings in 1918 until 1964, the year of his death, providing it with critical coherence and a new historiographical centrality.
Il presente lavoro di tesi è dedicato al pittore triestino Carlo Sbisà (Trieste, 1899 - 1964) e si concentra sulla realizzazione del catalogo generale della sua opera grafica, comprendente disegni, acqueforti, puntesecche, linoleografie a cui si aggiungono altre produzioni legate all’editoria e alla pubblicità. La ricerca si inserisce nel più ampio quadro degli studi critici e monografici dedicati al Maestro, sviluppatisi in maniera significativa soprattutto a partire dal secondo dopoguerra ed esclusivamente in relazione alla produzione pittorica, per arrivare alle pubblicazioni più recenti, tra la fine degli anni Novanta e i primi Duemila, con la registrazione dei primi contributi parziali specificatamente rivolti al repertorio grafico. L’indagine si propone dunque di aggiornare e ampliare le conoscenze sulla grafica dell’artista, restituendole organicità e visibilità anche grazie al rinvenimento e allo studio di fonti documentarie, materiali inediti e all’individuazione di circa 600 opere, di cui quasi la metà mai pubblicate né studiate, provenienti da raccolte pubbliche e private, oltre che dall’archivio personale della famiglia. La catalogazione è stata arricchita da un approccio analitico volto a considerare elementi finora poco o mai presi in esame quali la natura tecnica e materiale dei fogli, le caratteristiche dei supporti, le tipologie di medium grafici utilizzati, la presenza di filigrane, oltre a informazioni relative alla provenienza delle opere e alla loro esposizione in mostre personali o collettive. A completamento del lavoro, sono stati trascritti e pubblicati integralmente alcuni documenti inediti provenienti da alcune importanti realtà archivistiche come l’Archivio del Centro Apice dell’Università degli Studi di Milano e il Fondo Sbisà di Trieste che hanno contribuito a illuminare il campo di studi in riferimento ad aspetti biografici e professionali. I risultati del lavoro hanno quindi l’obiettivo di ridefinire in modo sostanziale il ruolo della produzione grafica di Carlo Sbisà dagli esordi del 1918 fino al 1964 anno della morte, conferendole coerenza critica e una nuova centralità storiografica.
Catalogo generale della grafica di Carlo Sbisà. Opere su carta dal 1918 al 1964
BEATI, SIMONE
2025/2026
Abstract
This thesis is dedicated to the Trieste-born painter Carlo Sbisà (1899–1964) and focuses on the creation of a comprehensive catalogue of his graphic works, including drawings, etchings, drypoints, and linocuts, as well as other productions related to publishing and advertising. The research fits within the broader context of critical and monographic studies devoted to the artist, which developed significantly particularly after World War II and focused exclusively on his painting, up to the more recent publications at the end of the 1990s and early 2000s, which recorded the first partial contributions specifically concerning his graphic repertoire. The study therefore aims to update and expand knowledge about the artist’s graphic work, restoring both its coherence and visibility, thanks also to the discovery and analysis of documentary sources, unpublished materials, and the identification of around 600 works, nearly half of which have never been published or studied, coming from public and private collections as well as from the artist’s family archive. The cataloguing has been enriched by an analytical approach that considers elements so far little or never examined, such as the technical and material nature of the sheets, the characteristics of the supports, the types of graphic media used, the presence of watermarks, and information concerning the provenance of the works and their exhibition in solo or group shows. To complete the work, some unpublished documents from important archival institutions, such as the Apice Centre Archive at the University of Milan and the Sbisà Archival Collection in Trieste, have been fully transcribed and published, shedding light on biographical and professional aspects. The results of the study thus aim to substantially redefine the role of Carlo Sbisà’s graphic production from its beginnings in 1918 until 1964, the year of his death, providing it with critical coherence and a new historiographical centrality.| File | Dimensione | Formato | |
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https://hdl.handle.net/20.500.14239/35647