The newly found final version of Italian artist and writer Antonio Franchi's 1739 art treatise La Teorica della pittura (Archivio di Stato, Florence, Italy) allows for a survey of the overall context of this work. This study reconstructs the provenance of the manuscript, analyzes it in terms of a critique génétique with regard to Franchi's work as a writer, examines the writing process and the necessary comparison of the authorial compilation with Giuseppe Rigacci's posthumous first edition, and traces the origin of this print within the milieu of the involved parties.
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