{"id":"novecento-italiano","no":499,"name":"Novecento Italiano","ja":"ノヴェチェント・イタリアーノ","era":"1922–1943","family":"具象絵画","kind":"スタイル","collection":"Dictionary expansion 24","addedAt":"2026-08-18","source":{"title":"Wikipedia — Novecento Italiano","url":"https://en.wikipedia.org/wiki/Novecento_Italiano"},"reference":{"status":"verified","pageUrl":"https://en.wikipedia.org/wiki/Novecento_Italiano","credit":"Wikipedia — Novecento Italiano","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Artgate%20Fondazione%20Cariplo%20-%20Sironi%20Mario%2C%20Composizione%20o%20Composizione%20e%20figure.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Artgate%20Fondazione%20Cariplo%20-%20Sironi%20Mario%2C%20Composizione%20o%20Composizione%20e%20figure.jpg","credit":"Mario Sironi《コンポジション（人物のある構成）》— Fondazione Cariplo / CC BY-SA 3.0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Mario%20Sironi%20Composizione.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Mario%20Sironi%20Composizione.jpg","credit":"Mario Sironi《コンポジション》— Wikimedia Commons / CC BY-SA 4.0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Mario%20Sironi%2C%20Italy%20Between%20the%20Arts%20and%20Sciences.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Mario%20Sironi%2C%20Italy%20Between%20the%20Arts%20and%20Sciences.jpg","credit":"Mario Sironi《芸術と科学のあいだのイタリア》— Wikimedia Commons / CC BY-SA 4.0"}]},"essence":"前衛の解体のあと、イタリア古典の量塊と静けさへ戻ろうとした運動。単純化された堅牢な人体、抑えた土色、正面性の強い構図が、両大戦間の公共建築や壁画の語彙になった。「秩序への回帰」の代表例であり、体制との近さも含めて読む必要がある。","cues":["単純化された堅牢な人体","正面性の強い構図","抑えた土色の彩色","古典彫刻を思わせる量塊"],"intents":["信頼","高級","静けさ"],"works":["一次資料と代表作から成立条件を比較する","別媒体へ応用できる構成原理を取り出す"],"recipe":{"type":"参照作品の文字・記号・スケールを観察する","layout":"視線と情報を支配する構造を一つ抽出する","material":"時代・地域・制作工程に固有の素材と挙動を確認する"},"avoid":"表面的な記号へ還元せず、時代・地域・技術・制作主体の文脈を確認する。","colors":["#e9e6dd","#67635d","#171615"],"motif":"graphic","pair":["italian-rationalism","socialist-realism"],"study":["マルゲリータ・サルファッティの主導","秩序への回帰という文脈","公共壁画への展開"],"en":{"essence":"A movement that, after the avant-garde had dismantled form, sought a return to the mass and stillness of Italian classicism. Simplified, solid bodies, subdued earth colour and emphatically frontal composition became the vocabulary of interwar public building and mural painting. A leading case of the return to order, and one that has to be read together with its closeness to the regime.","cues":["Simplified, solid bodies","Emphatically frontal composition","Subdued earth colour","Mass recalling classical sculpture"],"works":["Institutional identity that wants gravity without ornament, for museums, foundations and civic bodies, provided the political reading is faced rather than ignored","Figurative illustration and sculpture-led art direction in which weight and calm matter more than movement"],"recipe":{"type":"Roman capitals cut to classical proportion and spaced as though incised, aligned to the axis of the figure.","layout":"Frontal and symmetrical, the figure centred and cut at the knee, the ground a plain plane with no incident.","material":"Fresco-like matte surfaces in ochre, terracotta and stone grey, lit so that mass is modelled and almost nothing casts a shadow."},"avoid":"Taking the monumental frontality as neutral good taste: the same devices were built to speak for a state, and used without that awareness the work carries an argument its author did not intend.","study":["Margherita Sarfatti's leadership","The context of the return to order","Its extension into public murals"]}}