Biancalucia Maglione is a PhD candidate in Art History at the University of Florence, Pisa and Siena. Her PhD research focuses on Italian collector Carlo Frua De Angeli (1885-1969) within the context of Milan’s art market between 1930 and 1950. The project is mostly based on provenance studies and on the analysis of galleries’ activities in Milan.
She did research on this subject at the Provenance Research Workshop at the Castello di Rivoli (Torino), and she is currently writing for the Art Market Dictionary (ed. De Gruyter).
Furthermore, since 2017 she has been Teaching Assistant in Contemporary Art at the University of Pisa, where she also had two research scholarships.
Previously, she obtained a MA (cum laude) in Modern and Contemporary Art History at the University of Pisa, with a dissertation on the Italian painter Osvaldo Licini (1894-1958). Much of the research for her dissertation took place during a research internship at the Musée National d’Art Moderne – Centre Georges Pompidou, in Paris. She has both published and presented at conferences on Licini and, more recently, she has been part of the scientific committee of the exhibition La regione delle Madri. I paesaggi di Osvaldo Licini (Monte Vidon Corrado, 2020).
She was awarded a BA (cum laude) in Contemporary Art History from the University of Pisa, with a thesis on the Italian contemporary artist Loris Cecchini (published in 2017: Loris Cecchini. Testing effects, dancing reactions, Pacini Editore).
Her recent publications include essays on sculpture (“Prima di tutto il ritratto”. Un’aggiunta al catalogo di Marino Marini, «Critica d’Arte», expected 2021), Surrealism (L’ornement sens nom tra grafica tardo-ottocentesca e ibridazioni surrealiste, exh. catalogue Raffaello e la Domus Aurea, 2020) and the inter-war Italian art (Carlo Ludovico Ragghianti e Osvaldo Licini. Verso Arte moderna in Italia 1915-1935, in Carlo Ludovico Ragghianti e l’arte italiana tra le due guerre, symposium proceedings, 2020).
At the Center for Italian Modern Art, Biancalucia intends to investigate the importance of photography in Schifano’s early career, focussing on both the artist’s material practice of the medium in the pictorial field and the painter’s constant reflection on photographic framing. The overarching aim is to ascertain whether and to what extent certain typically photographic categories, syntactical and grammar rules can function as a plausible, even if not exclusive, analytical and interpretive tool to discuss some specific results of Schifano’s early oeuvre.