{"id":9764,"date":"2026-01-09T09:19:40","date_gmt":"2026-01-09T09:19:40","guid":{"rendered":"http:\/\/www.editris2000.it\/?post_type=product&#038;p=9764"},"modified":"2026-01-09T09:23:55","modified_gmt":"2026-01-09T09:23:55","slug":"art-brut-2","status":"publish","type":"product","link":"http:\/\/www.editris2000.it\/?product=art-brut-2","title":{"rendered":"Art Brut"},"content":{"rendered":"<p><strong>Contents<\/strong><\/p>\n<p>Preface<br \/>\n<em>Cecilia Pennacini, Silvano Montaldo<\/em><\/p>\n<p>\u00abA raccolta!\u00bb<br \/>\n<em>Chiara Nenci<\/em><\/p>\n<p>Art Brut at the University of Turin:<br \/>\nThe Collection of Works from the Asylum Context at the Cesare Lombroso Museum of Criminal Anthropology<br \/>\n<em>Federica Merlo<\/em><\/p>\n<p>Art Brut at the University of Turin:<br \/>\nThe Collection of Works from the Asylum Context at the Museum of Anthropology and Ethnography<br \/>\n<em>Gianluigi Mangiapane<\/em><\/p>\n<p>The TAZEBAO Project<br \/>\n<em>Davide Borra<\/em><\/p>\n<p>Telling the story of Art Brut through the Digital<br \/>\n<em>Federico Citi, Riccardo Zanzi<\/em><\/p>\n<p>Art Brut: Legal Profiles between Copyright, Privacy, and Cultural Heritage<br \/>\n<em>Roberto Cavallo Perin, Francesca Paruzzo<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>Bibliography<\/p>\n<p>Authors\u2019 Biographies<\/p>\n<p>&nbsp;<\/p>\n<p>\u201cThose who believe that the intellectual power of the insane is diminished are gravely mistaken; on the contrary, it is often heightened in them, and in a singular manner.\u201d Thus wrote Cesare Lombroso on 1 November 1863, in his inaugural lecture for his lectures in Anthropology and Clinical Psychiatry at the University of Pavia. The brief text, first published the following year under the title Genio e follia (Genius and Madness), was revised, expanded and reprinted five times, eventually reaching 743 pages in its final version of 1894, titled L\u2019uomo di genio (The Man of Genius). While the original idea of the essay focused on cases of mental disturbance revealed in the biographies and works of famous artists, writers and scientists \u2013 in keeping with a theory in contemporary French psychiatry that genius had a neurotic or degenerative origin \u2013 by the second edition of Genio e follia, published in 1872, the space devoted to the creativity of psychiatric patients was already significantly expanded. Material meant to serve merely as a kind of counterproof to the main thesis now considered several cases of intellectual and artistic creation produced within asylums, which Lombroso had seen emerge from the hands of his patients in Pavia and later in Pesaro. For example, in the Pavian clinic he met a working-class woman who, convinced she was a descendant of Napoleon and persecuted by numerous enemies, displayed such talent for drawing and embroidery that she made \u201ccertain butterflies so light and so lifelike that they seemed to flutter there upon the fabric.\u201d Another woman, \u201cwith a few lemon peels and eggshells modelled the most charming little vases and inkwells.\u201d There was also the case of a cobbler \u2013 a murderer tormented by erotic-hallucinatory manias \u2013 whom madness had turned into a gifted writer.<br \/>\nIn this way, the criminologist recounted the birth of a collection that would grow like the pages of his own books, enhanced by the marvellous works of his patients and by gifts sent by numerous admirers, including from abroad, to Turin, the city where he had moved to in 1876 to establish his controversial \u201cscience\u201d of crime. This collection that was later expanded by Antonio Marro, Lombroso\u2019s collaborator and a physician at the Turin psychiatric hospital, and by Marro\u2019s son Giovanni, who made it one of the founding elements of the Museum of Anthropology and Ethnography of Turin (MAET).<br \/>\nIn recent decades this cultural heritage has become the focal point for an interesting process of reinterpretation and appreciation within a broad debate concerning the very concept of art and the definition of \u201cArt Brut,\u201d a term coined by Jean Dubuffet in 1945.<br \/>\nTwo separate collections, hitherto preserved in the Lombroso Museum and the MAET, have now been reunited virtually and rendered fully accessible to the public through a Digital Library of Art Brut in Turin, thereby giving back a space and voice to often-overlooked creative figures through a reconstruction of their biographies and the contexts in which they produced their creative works.<\/p>\n","protected":false},"excerpt":{"rendered":"<h5>The Asylum Collections of the University of Turin<\/h5>\n<p><em>A cura di:<\/em> Gianluigi Mangiapane, Federica Merlo<\/p>\n<p>Committenti: Museo di Antropologia criminale \u201cCesare Lombroso\u201d, Museo di Antropologia ed Etnografia di Torino (UNITO)<\/p>\n<p>176 pagine<br \/>\nformato 21&#215;27 cm, dorso 13 mm<br \/>\ncopertina morbida<br \/>\nlingua: inglese<\/p>\n<p>[vc_separator type=&#8221;transparent&#8221; up=&#8221;2&#8243;]<\/p>\n<p>\u00a9 2025 Editris Duemila snc, Torino<br \/>\nISBN-9788889853924<\/p>\n","protected":false},"featured_media":9753,"comment_status":"open","ping_status":"closed","template":"","meta":[],"product_cat":[53],"product_tag":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.9 - 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