ARTE

摘要

When still in its second year, Domus issue 20, 1929 introduced a new subtitle: L'arte nella casa. (Art at home). Coherent with Ponti's vision of the "Italian-style house", art moved decisively into the magazine's pages, in the shape of coloured ceramics and blown glass, paintings, drawings and frescoes. Between 1928 and 1940 the focus was on Italian art (Morandi, Carrà, De Chirico, Fontana and Campigli in particular); but not exclusively: in 1934 Domus featured a reportage on Léger's studio in Paris. The imprint was so marked as to survive Ponti's chief editorship. When Bontempelli, Pagano and Bega edited issue 157 in 1941, its presence became emblematic. "We are not talking about 'Art at home' anymore, but about 'The arts at home' (...). And this plural means that we have joined forces under this new editorship, with our renewed Domus format, to publish wider and fuller examples of coexistence among the different contemporary arts." Alongside artists, art critics, too, were fully instated: Argan inaugurated the Museo feature to examine through contemporary eyes the masterpieces of the past. Even when Rogers subtitled the magazine La casa dell'uomo (Man's home,) in 1946, art did not recede but indeed grew increasingly international (as demonstrated by a focus on the work of Bruno Munari, Costantino Nivola, Max Bill and Henry Moore) and open to the restlessness of the postwar age, as seen in the essay by Gillo Dorfles, L'attualità del barocco.