Intentional Glances at the Quattrocento in the Interwar Period in France and Italy: Art, Politics, and Cultural Institutions. An Approach to the Construction of Modernity

Ana Redondo Plaza

Riproduzione di un particolare dell’opera Sant’Anna, la Madonna col Bimbo e cinque angeli (1424-1425 c.) di Masolino e Masaccio (Galleria degli Uffizi) nel libro Masaccio (1932) Mario Salmi, ed. Valori Plastici; Bibliotheca Hertziana – Istituto Max Planck per la storia dell‘arte; Roma — Riproduzione di un particolare dell’opera Sant’Anna, la Madonna col Bimbo e cinque angeli (1424-1425 c.) di Masolino e Masaccio (Galleria degli Uffizi) nel libro *Masaccio* (1932) Mario Salmi, ed. Valori Plastici; Bibliotheca Hertziana – Istituto Max Planck per la storia dell‘arte; Roma

Riproduzione di un particolare dell’opera Sant’Anna, la Madonna col Bimbo e cinque angeli (1424-1425 c.) di Masolino e Masaccio (Galleria degli Uffizi) nel libro *Masaccio* (1932) Mario Salmi, ed. Valori Plastici; Bibliotheca Hertziana – Istituto Max Planck per la storia dell‘arte; Roma

Supervised by Prof. Rocío Robles Tardío (Universidad Complutense de Madrid) and co-directed by Prof. Juan José Lahuerta Alsina (Universitat Politècnica de Catalunya- Escola Tècnica Superior d'Arquitectura de Barcelona), this project sets itself the goal of studying the factors, points of view, and interests that, against distinct disciplinary backdrops (artistic, institutional, political), zeroed in on the fifteenth century in France and Italy during the period between the two wars. It is an in-depth analysis of the era that is committed to a transversal perspective and an international and original approach to the academic field. This project proposes new ways of studying the relationships between the fifteenth century and modernity – relationships moreover the surfaces of which have only been scratched by previous research. This position implies a methodological departure from a large part of the existing research literature focused on the formal connections between Italian painting of the 15th and 16th centuries and the new figurations of the interwar era. Furthermore, it critically revisits the concept of a “return to order” that plays a prominent role in traditional narratives and the standard historiography. In this way, the research undertakes a critical examination of the history of art and the configuration of history itself, as well as the politics of art history, thereby transforming this inquiry into a panoramic study of the broad and complex processes by which modernity was constructed in the 1920s and 1930s.