This study offers an analysis of the critical reception and ex- hibition history of Courbet in Italy between 1920 and 1954, the year of the second retrospective dedicated to him at the Venice Biennale. Starting with detailed documentary research, the au- thor also discusses some of the fortunes of Courbet’s paintings, supported by published and unpublished sources, or through iconographical hypotheses. The artists involved here include Giorgio de Chirico, Carlo Socrate, Giorgio Morandi and Felice Carena. While Roberto Longhi continues to be central to the Ital- ian reassessment of Courbet, in part conditioning how his work was received, the publication of texts in Germany and France contributed to the spread of images and the consequent revival of certain subjects.
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