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Afterword
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This concluding chapter explains how Medardo Rosso's posthumous reputation is another story that remains to be told. Except for a handful of enlightened art historians, such as Carola Giedion-Welcker and H. W. Janson, who included Rosso in their histories of modern art, Rosso was forgotten by the world after his death. In 1963 he was suddenly propelled back onto the international art scene by Margaret Scolari Barr, who wrote the first English monograph on Rosso. Since the 1970s, Rosso has been fully reclaimed by Italy and reframed within the nineteenth-century Italian Scapigliatura movement, a tale of local origins that Rosso himself had denied. Today, due to the many international artists inspired by Rosso's work, he has become the only Italian sculptor of his time to be globalized.
Title: Afterword
Description:
This concluding chapter explains how Medardo Rosso's posthumous reputation is another story that remains to be told.
Except for a handful of enlightened art historians, such as Carola Giedion-Welcker and H.
W.
Janson, who included Rosso in their histories of modern art, Rosso was forgotten by the world after his death.
In 1963 he was suddenly propelled back onto the international art scene by Margaret Scolari Barr, who wrote the first English monograph on Rosso.
Since the 1970s, Rosso has been fully reclaimed by Italy and reframed within the nineteenth-century Italian Scapigliatura movement, a tale of local origins that Rosso himself had denied.
Today, due to the many international artists inspired by Rosso's work, he has become the only Italian sculptor of his time to be globalized.
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