Who is Carlo Alberto Bucci

Carlo Alberto Bucci
Nato a Roma nel 1962, Carlo Alberto Bucci si è laureato nel 1989 alla Sapienza con Augusto Gentili. Dalla tesi, dedicata all’opera di “Bartolomeo Montagna per la chiesa di San Bartolomeo a Vicenza”, sono stati estratti i saggi sulla “Pala Porto” e sulla “Presentazione al Tempio”, pubblicati da “Venezia ‘500”, rispettivamente, nel 1991 e nel 1993. È stato redattore a contratto del Dizionario biografico degli italiani dell’Istituto dell’Enciclopedia italiana, per il quale ha redatto alcune voci occupandosi dell’assegnazione e della revisione di quelle degli artisti. Ha lavorato alla schedatura dell’opera di Francesco Di Cocco con Enrico Crispolti, accanto al quale ha lavorato, tra l’altro, alla grande antologica romana del 1992 su Enrico Prampolini. Nel 2000 è stato assunto come redattore del sito Kataweb Arte, diretto da Paolo Vagheggi, quindi nel 2002 è passato al quotidiano La Repubblica dove è rimasto fino al 2024 lavorando per l’Ufficio centrale, per la Cronaca di Roma e per quella nazionale con la qualifica di capo servizio. Ha scritto numerosi articoli e recensioni per gli inserti “Robinson” e “il Venerdì” del quotidiano fondato da Eugenio Scalfari. Si occupa di critica e di divulgazione dell’arte, in particolare moderna e contemporanea (nella foto del 2024 di Dino Ignani è stato ritratto davanti a un dipinto di Giuseppe Modica).

All the articles by Carlo Alberto Bucci on Finestre sull'Arte


Piero di Cosimo's Magdalene and the women of Florence: what the VIVE exhibition in Rome looks like

Piero di Cosimo's Magdalene and the women of Florence: what the VIVE exhibition in Rome looks like

Despite her understated elegance and gaze that is in no way winking because instead she is concentrated, pensive, if not sad, on the words written in the sacred book she delicately holds in her hands, the star of the exhibition La Maddalena di Piero ...
Read more...
Mario Schifano, the artist who anticipated Arte Povera and beyond. What the exhibition in Rome looks like

Mario Schifano, the artist who anticipated Arte Povera and beyond. What the exhibition in Rome looks like

History, including art history, is not made with "what ifs." The uchrony leads us, however, to imagine what idea we would have today of the fabulous Italian Sixties - a decade encompassed and compressed at the antipodes between the arrival of Pop Art...
Read more...
On the scaffolding of Michelangelo's Last Judgment: how the colors of the masterpiece are reborn

On the scaffolding of Michelangelo's Last Judgment: how the colors of the masterpiece are reborn

The action is quick and painless, the result immediate and comforting under the magnificent vault of the Sistine Chapel. That veil of white that has thickened exclusively over Michelangelo's Last Judgment, dulling the 391 figures painted by the maste...
Read more...
Fausto Pirandello, the drama painter who challenged figuration and abstraction: what the exhibition looks like

Fausto Pirandello, the drama painter who challenged figuration and abstraction: what the exhibition looks like

Sicily, distant motherland but indelible matrix of many paintings. And Rome, city of birth and election, vital meeting point for art and family existence. But also launching pad to the international horizon, Parisian and American, before and after Wo...
Read more...
Jeff Wall, when photography challenges painting. What the exhibition at MAST in Bologna looks like.

Jeff Wall, when photography challenges painting. What the exhibition at MAST in Bologna looks like.

A man walks through downtown Vancouver carrying something in a paper bag. We also see him in profile as, in another moment of the story in which he is both protagonist and extra, he talks to a woman leaning against the wall of a house. A second woman...
Read more...
Matthias Stom, an elusive Caravaggesque. What the Brescia exhibition looks like

Matthias Stom, an elusive Caravaggesque. What the Brescia exhibition looks like

The lit candle and the color of the heat illuminating the hand, open to cover the flame in a gesture of protection and awe. The color play that adds artificial light to the light inside the painting. However, to make the spirituality of the image, th...
Read more...
When painting breathes: Giovanni Frangi's Nobu at Elba. What the exhibition at Palazzo Citterio looks like.

When painting breathes: Giovanni Frangi's Nobu at Elba. What the exhibition at Palazzo Citterio looks like.

Milan. In the deep darkness that precedes dawn - but in the glow of dawn we will discover another and more intense sense of bewilderment in the pictorial blackness that surrounds us - what strikes us about Nobu at Elba is the intense smell emanating ...
Read more...
Untitled: why so many artists do not name their works. A book by Chiara Ianeselli

Untitled: why so many artists do not name their works. A book by Chiara Ianeselli

Simple, impersonal, silent, even obvious. Yet behind the Untitled title of a great many works of art-most of them, titling being a fairly recent invention-flies the banner of a quest that has proudly set itself free from the dominance of words, from ...
Read more...

12Pagina 1 di 2