Imaginária retabular colonial em São Paulo: estudos iconográficos

Pós-graduação em Artes - IA

Performatividade narrativa: intersecções narrativas em performance, fotografia e vídeo

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Trabalhos 2010-2014: performatividade escultórica

This paper presentes my production between 2009 and 2014 during the course of Bachelor of Visual Arts at the Art Institute of UNESP. I focus especially on my sculpture production and the development of this language to photography and video as a way to record my actions and performances. My approach to these experiments are with other artists of the 1960s and 1970s; especially the minimalist and post-minimalist movement

Pissing Glass and the Body Crass: Adaptations of the Scatological in Théophile

Examination of scatological motifs in Théophile de Viau’s (1590-1626) libertine, or ‘cabaret’ poetry is important in terms of how the scatological contributes to the depiction of the Early Modern body in the French lyric.1 This essay does not examine Théophile’s portrait of the body strictly in terms of the ‘Baroque��� or the ‘neo-Classical.’ Rather, it argues that the scatological context in which he situates the body (either his, or those of others), reflects a keen sensibility of the body representative of the transition between these two eras. Théophile reinforces what Bernard Beugnot terms the body’s inherent ‘eloquence’ (17), or what Patrick Dandrey describes as an innate ‘textuality’ in what the body ‘writes’ (31), and how it discloses meaning. The poet’s scatological lyric, much of which was published in the Pamasse Satyrique of 1622, projects a different view of the body’s ‘eloquence’ by depicting a certain realism and honesty about the body as well as the pleasure and suffering it experiences. This Baroque realism, which derives from a sense of the grotesque and the salacious, finds itself in conflict with the Classical body which is frequently characterized as elegant, adorned, and ‘domesticated’ (Beugnot 25). Théophile’s private body is completely exposed, and, unlike the public body of the court, does not rely on masking and pretension to define itself. Mitchell Greenberg contends that the body in late sixteenth-century and early seventeenth-century French literature is often depicted in a chaotic manner because, ‘the French body politic was rent by tumultuous religious and social upheavals’ (62).2 While one could argue that Théophile’s portraits of a syphilis-ridden narrators are more a reflection of his personal agony rather than that of France as a whole, what emerges in Théophile is an emphasis on the movement, if not decomposition of the body.3 Given Théophile’s public persona and the satirical dimension of his work, it is difficult to imagine that the degeneration he portrays is limited only to his individual experience. On a collective level, Théophile reflects what Greenberg calls ‘a continued, if skewed apprehension of the world in both its physical and metaphysical dimensions’(62–3) typical of the era. To a large extent, the body Théophile depicts is a scatological body, one whose deterioration takes the form of waste, disease, and evacuation as represented in both the private and public domain. Of course, one could cast aside any serious reading of Théophile’s libertine verse, and virtually all of scatological literature for that matter, as an immature indulgence in the prurient. Nonetheless, it was for his dissolute behavior and his scatological poetry that Théophile was imprisoned and condemned to death. Consequently, this part of his work merits serious consideration in terms of the personal and poetic (if not occasionally political) statement it represents. With the exception of Claire Gaudiani’s outstanding critical edition of Théophile’s cabaret lyric, there exist no extensive studies of the poet’s libertine œuvre.4 Clearly however, these poems should be taken seriously with respect to their philosophical and aesthetic import. As a consequence, the objective becomes that of enhancing the reader’s understanding of the lyric contexts in which Théophile’s scatological offerings situate themselves. Structurally, the reader sees how the poet’s libertine ceuvre is just that — an integrated work in which the various components correspond to one another to set forth a number of approaches from which the texts are to be read. These points of view are not always consistent, and Théophile cannot be thought of as writing in a sequential manner along the lines of devotional Baroque poets such as Jean de La Ceppède and Jean de Sponde. However, there is a tendency not to read these poems in their vulgar totality, and to overlook the formal and substantive unity in this category of Théophile’s work. The poet’s resistance to poetic and cultural standards takes a profane, if not pornographic form because it seeks to disgust and arouse while denigrating the self, the lyric other, and the reader. Théophile’s pornography makes no distinction between the erotic and scatological. The poet conflates sex and shit because they present a double form of protest to artistic and social decency while titillating and attacking the reader’s sensibilities. Examination of the repugnant gives way to a cathartic experience which yields an understanding of, if not ironic delight in, one’s own filthy nature.

Performatividade narrativa: intersecções narrativas em performance, fotografia e vídeo

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Trabalhos 2010-2014: performatividade escultórica

This paper presentes my production between 2009 and 2014 during the course of Bachelor of Visual Arts at the Art Institute of UNESP. I focus especially on my sculpture production and the development of this language to photography and video as a way to record my actions and performances. My approach to these experiments are with other artists of the 1960s and 1970s; especially the minimalist and post-minimalist movement

PLICATULOSTREA, A NEW GENUS OF PLICATULIDAE (BIVALVIA: PECTINOIDEA) FROM THAILAND

Plicatulostrea onca, a new genus and species of Plicatulidae, is described based on shell and anatomy. The samples were collected under intertidal rocks at Kungkrabaen Bay, Thailand. Plicatulostrea differs from other plicatulids mainly in lacking undulations or shell sculpture, by long projections of the hinge teeth of the right valve and extreme body compression. Plicatulostrea onca has a radially arranged spots at the shell surface and typical plicatulid anatomy, differing mainly by the richness of papillae on the mantle edge and by invasion of the gonad along the mantle lobes. Some comments on the anatomy of the family are also provided.

Revision of the genus Spinosipella (Bivalvia : Verticordiidae), with descriptions of two new species from Brazil

A revision of the deep-water verticordiid genus Spinosipella is provided, based on conchological and anatomical characters. The genus is considered distinct from Verticordia (of which it was considered a subgenus) based on the strong ribs, prickly surface, reduction of lunula, relative large size, weakly spiral valve shape, and other characters. The following species are considered in the genus: (1) Spinosipella agnes new species, ranging from Florida, USA, to Rio de Janeiro, Brazil, and also including the Porcupine Abyssal Plain in the North Atlantic; (2) S. tinga new species, occurring from Rio de Janeiro to Rio Grande do Sul, Brazil; (3) S. acuticostata (Philippi, 1844), a Pliocene fossil from southern Italy; (4) S. deshayesiana (Fischer, 1862), from south and central Indo-Pacific (S. ericia Hedley, 1911, the type species of the genus, was revealed to be a new synonym of S. deshayesiana); and (5) S. costeminens (Poutiers, 1981), from the tropical west Pacific. The five species differ mainly in conchological details of the number and size of ribs, of the prickly sculpture, shape of the shell, of the hinge and the degree of convexity. Anatomical description is also provided for the two Pacific species, which differ among themselves mainly by the size of the pair of renal folds. From the standpoint of anatomical characters, the more significant are: the wide lithodesma; the elongation of the auricles, crossing the roof of pallial cavity; a tall digital fold in posterior region of supraseptal chamber; the low but wide palps; the muscular, gizzard-like stomach; the complete separation of both constituents of the hermaphroditic gonad (a ventro-posterior testicle and a centro-dorsal ovary), and a complete fusion of the visceral ganglia.

The IDEOLOGY SPACE BRAZILIAN NATIONAL STATE OF CONSTITUTIVE

In the debate over the construction of the Brazilian national state, we assume that this process has established itself at the heart of a fragmentary appreciation of their aesthetic variants, forming a controversial ideology spatial sense of identity to the nation. progress, modernization and territorial integration emerge as slogans on the link between the imagined nation, Brazil Imperial, and the nation as concretized throughout the twentieth century, despite the discourse and actions in the rescue culture synthesis Brazilianness. It is evident, that scope, a tendency to think the nation more as a product of a cultural elite (fragments of baroque and colonial cities consecrated) than through symbols forming territories hybrids representatives of all of their constructors: the antagonistic protagonists.

Two new species of Tornidae (Caenogastropoda, Rissooidea) from Espirito Santo, Brazil

Two new species of shallow water Tornidae are found in Espirito Santo state, Brazil, formally described herein. They belong to a complex group of tiny gastropods, in such the taxonomy is very confused. Cyclostremiscus mohicanus sp. n. is characterized by three well-developed spiral, equidistant carinas, working as base of three series of tall, aligned periostracal rods. Episcinia itanhuna sp. n. has as single sculpture a series of pustules in periphery, but the periostracum bears three series of peripheral fringes with irregular rods. The new species are compared with the allies, showing a close relation with Caribbean fauna, but possessing worthy differences. These similarities have raised misidentifications.

Taxonomic study on the molluscs collected in Marion-Dufresne expedition (MD55) to SE Brazil: Xenophoridae, Cypraeoidea, mitriforms and Terebridae (Caenogastropoda)

The deep-water molluscs collected during the expedition MD55 off SE Brazil have been gradually studied in some previous papers. The present one is focused on samples belonging to caenogastropod taxa Xenophoridae Troschel, 1852, Cypraeoidea Rafinesque, 1815, mitriforms and Terebridae Morch, 1852. Regarding the Xenophoridae, Onustus aquitanus n. sp. is a new species, collected off the littoral of Espirito Santo and Rio de Janeiro, Brazil, 430-637 m depth (continental slope). The main characters of the species include the small size (c. 20 mm), the proportionally wide shell, the white colour, the short peripheral flange, the oblique riblets weakly developed and a brown multispiral protoconch. This appears to be the smallest living species of the family, resembling in this aspect fossil species. In respect to the Cypraeoidea, the following results were obtained: family Cypraeidae Rafinesque, 1815: Erosaria acicularis (Gmelin, 1791) and Luria cinerea (Gmelin, 1791) had the deepest record, respectively 607-620 m and 295-940 m, although the samples were all dead, eroded shells. Family Lamellariidae d'Orbigny, 1841: a total of three lots were collected, provisionally identified as Lamellaria spp. as the samples consist of only vestigial shells; possibly each lot represents a different species. Family Pediculariidae Gray, 1853: a sample of Pedicularia tibia Simone, 2005 was found, expanding the range c. 1000 km southwards, from Ceara to Espirito Santo. Family Ovulidae Fleming, 1822: Pseudosimnia lacrima n. sp., collected off Espirito Santo, 607-620 m depth, is described here and is mainly characterised by its strong biconic outline, small size (c. 7 mm), and a thick peripheral callus. Family Triviidae Troschel, 1863: Cleotrivia antillarum (Schilder, 1922) is recorded for the first time as deep as 620 m, and its distribution expanded from Rio Grande do Norte to Espirito Santo; Dolichupis akangus n. sp. with rounded outline and c. 15 transverse ribs; D. pingius n. sp. with the outer lip expanded posteriorly and c. 10 ribs. In respect to the mitriform neogastropods, the following species are emphasised: family Costellariidae MacDonald, 1860: Vexillum sp., 607-620 m depth; Turricostellaria amphissa n. sp., 295 m depth; T. jukyry n. sp.; T. apyrahi n. sp., both 790-1575 m depth; T. ovir n. sp., 1200 m depth; Nodicostellaria crassa (Simone, 1995), 240-600 m depth, with extension northwards of the range up to Espirito Santo; Austromitra decresca n. sp., 60-105 m depth. Family Mitridae Swainson, 1829: Subcancilla joapyra n. sp., 295 m depth; S. cf. straminea (Adams, 1853), 607-620 m depth. Family Volutomitridae Gray, 1854: Microvoluta corona n. sp., 1500-1575 m depth. Family Mitromorphidae Casey, 1904: Mitromorpha sama n. sp., 607-940 m depth; M. mirim n. sp., 60105 m depth. Regarding the conoidean Terebridae, this paper is a complement of a previous study. It deals with a new species Terebra assu Simone n. sp., from the Abrolhos Bank, 295 m depth, characterised by its narrow outline, yellowish colour, weak sculpture on the last whorls, and a proportionally broad, paucispiral protoconch. A second finding of Terebra alagoensis Lima, Tenorio & Barros, 2007 expands the geographic range from Alagoas to north Espirito Santo. A discussion on the systematics of the "complex Terebra doellojuradoi" in South American coast is also provided, highlighting the improbability of synonymy between T. leptapsis Simone, 1999 and T doellojuradoi Carcelles, 1953. Differences in size, sculpture, spire angulation, aperture, and mainly in protoconch, indicate specific separations. The presently studied terebrids belong to the "complex Terebra doellojuradoi", which encompasses closely related, deep-water, small species, possessing a relatively high degree of endemicity.

Taxonomical study on a sample of pulmonates from Santa Maria da Vitória, Bahia, Brazil, with description of a new genus and four new species (Mollusca: Orthalicidae and Megalobulimidae)

A sample of Pulmonata collected in Santa Maria da Vitória, interior of Bahia, Brazil, in Caatinga semi-arid environment, is studied taxonomically. From the five species, four are revealed as new, including a new genus. The new taxa are the Bulimulidae (1) Kora corallina gen. et sp. n. characterized by the elongated shell with aperture somewhat dislocated from the shell axis, and an oblique tooth in middle level of inner lip; (2) Spixia coltrorum, mainly characterized by an uneven spire, delicate sculpture and peristome with 4 equidistant teeth; (3) Anostoma tessa, mainly characterized by a broad spire and well-developed anal canal; and the Megalobulimidae (4) Megalobulimus amandus, mainly characterized by pointed protoconch sculptured by dense quantity of axial cords. Rhinus suturalis is the only previously known species, but its geographic distribution is expanded southwards to Bahia state. A discussion with respect to necessity for improving the study on the malacofauna from the interior region of the Brazilian Northeast and the importance for preservation of the Caatinga biome is also provided.

Planteamiento experimental de la experiencia del modelado con barro en la Facultad de Formación del Profesorado durante el curso 2012-2013

[ES] Con motivo de la práctica docente universitaria en la Facultad de Formación del Profesorado con alumnos del grado de Primaria, en el ámbito de las artes plásticas, tuvimos la idea y la oportunidad de reforzar y ampliar los recursos didácticos planteados a priori en la investigación, experimentándolos con un sector más amplio que el de los alumnos de especialidades específicamente artísticas, a quienes iba dirigido en un principio la creación de recursos didácticos relacionados con la tesis titulada: “Escultura pública en Gran Canaria entre 1980-2010: recursos didácticos para la enseñanza de algunos procedimientos usados en ellas.” [EN] In the context of teaching activities to Primary Education students at the Teacher Training College in the field of plastic arts and in reference to the thesis called 1980-2012 Public Sculpture in Gran Canaria, Didactic Resources for the Teaching of some of the Procedures Applied in their Making geared towards students whose specialties were specifically artistic, we had the op ortunity to reinforce and increase the methodological resources considered within the research but with students different to those of the speciality of plastics arts.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.

Gadda neobarocco. Corrispondenze fra Barocco storico e Barocco moderno

Nei primi due capitoli mi occupo del recupero del Barocco in ambito novecentesco e delle diverse letture e interpretazioni del Barocco e del Neobarocco, concetto che nasce dalla riflessione sul Barocco lungo tutto il Novecento. Riflessione che è stata anche una rivendicazione, a livello estetico, ma non solo, di una attualità o contemporaneità del Barocco, che accomuna tutta la riflessione sulla scoperta della cultura di un secolo, da Wölfflin a Benjamin, da Riegl a Anceschi. Si tratta anche di un rapporto fra Barocco storico e Neobarocco: se la stessa rivalutazione e riscoperta dell’arte del XVII secolo, dalla fine dell’Ottocento e lungo tutto il Novecento, ha coinciso con la sua costruzione terminologica ed ermeneutica, di questa nuova categoria è lo stesso approccio intellettuale contemporaneo che può definirsi, nella più ampia accezione, «neobarocco». Nel terzo capitolo, invece, ho approfondito il rapporto fra Gadda e il Barocco, partendo dal concetto di allegoria moderna di Walter Benjamin. Fondamentale per la mia ricerca è stato il libro di Gilles Deleuze, La piega. Leibniz e il barocco, che ha visto nell’opera del filosofo Leibniz (studiato anche dal proprio Gadda) la chiave di lettura per capire il Barocco nelle sue diverse manifestazioni. E anche il libro di Robert Dombroski, Gadda e il barocco, in cui si parte appunto dal concetto di barocco/neobarocco come punto di approccio per studiare il barocco di Gadda. Infatti, lo stile di Gadda risponde al canone barocco che il poststrutturalismo ha riaccolto nel vivo del dibattito estetico, si pensi ai contributi di Roland Barthes e di Severo Sarduy e, posteriormente, all’opera proprio di Deleuze. Nell’ultimo capitolo, poi, faccio un’analisi di Gadda traduttore di opere del Seicento spagnolo, opere che vengono da lui riscritte grazie alla rielaborazione del passato attraverso il suo linguaggio neobarocco.