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At first, my studies concerned the painting. With a degree thesis about the QUOTE and the SOURCES in the painting of the 1980s. The study included the different groups, different especially for theirs ways of “return to painting” and to figuration, in particular: Transavanguardia, Nuovi Nuovi and Anancronisti. "Art and History of Art. The quote in the painting of the 80s ”. During the specialization at the University of Udine, I studied the SCULPTURE from the end of the 19th century to the first half of the 20th century. In particular, I started the Catalog Raisonné of Ercole Drei’s sculptures. It was the result of a reorganization of the Ercole Drei’s archive, conserved at the Quadriennale. 1886 –1973. The catalog included only the works documented by photographs of the time. It evidences a complex production, whit multiples and derivations, sculptures in bronze, marble and plaster. The PhD research concerned Roman painting of the 1960s, and began from the reorganization of La Tartaruga Gallery’s Archive. La Tartaruga, was the subject of some of my essays. First of all, the one about the collaboration between the gallery owner Plinio De Martiis and the collector Giorgio Franchetti, that brought, for the first time, the works of the American artists Kline and Rothko, for example, at La Tartaruga in the late 1950s. The PhD thesis directed the investigation to two directions: the first, concerned the visual sources of the young roman artists, Festa and Angeli in particular; the second, concerned the reconstruction of the context and the history of Roman private galleries. This broad investigation about the galleries continued during my participation at the research project of the PRIN 2015 "Modern art exhibitions in private galleries in Italy: the two crucial decades (1960-1980)”. At moment, I’m writing an essay that looks into some of the most significant editorial products of La Tartaruga Gallery, such as Bulletins, catalogs, posters and brochures. The editorial projects of Plinio De Martiis, are discussed by comparing with the contemporary publications of some Rome’s well-known galleries. The aim is to understand, not only the editorial strategies that gallery owners have been utilizing since the end of the 1950’s, but also the dynamics of publication and the uses of these minor editions - voice of militant critics -, which quickly obtained the status of document and literary source. The PhD thesis concerned Roman painting in the period from 1955 to 1968. In other words, from the After Informal to the Return to figuration by means of ( or through) an image mediated by the language of the media society. The models of Burri, Dorazio and Rothko were discussed, identifying right from the beginning, especially in Tano Festa, interests connected not only to the matter but also to the color-light and consequently to the color-field and to the mechanisms of vision and perception. After these first results, I also reread the arrival of Festa at the figuration, in 1963, in new terms. I tried to exceed the critic reading that compared Festa to Newdada or Pop Art and I connected him to the Italian figurative tradition, contaminated by the scientific interests and the reflections on visual perception. In this reflection, which Festa shared with his brother Francesco Lo Savio, he found a reference in the book “Art and Visual Perception” by Rudolph Arheim. The contrast between Gestalt and Object Realism, proposed by Argan at the Biennale of San Marino in 1963, turned out to be less marked. To this topic I devoted the essay about the “Porta Rossa” by Tano Festa in which I analyze, through the works, his relationship with Rothko and Dorazio but also with the most recent painting, even the American painting, that used with scientific and non-scientific intentions, the color-light. Along this line, another result was achieved in the essay about the relationship between Festa and Michelangelo's iconographies in 1964. It was the year of Michelangelo's celebrations, and Festa combined Michelangelo's iconographies - proposed through copies and projections by the exhibition at Palazzo delle Esposizioni -, to his reflection on patterns published by Arheim. These results were possible by analyzing 200 drawings and sketches by Tano Festa who, unlike the finished works, positioned his reflection between Mondrian and Arheim, between Rothko and Dorazio. Methodologically, it was a philological study of the image. By image, I refer as much to the figurative image as to the monochrome surface. In fact, the attempt was to read a monochrome painting, not as a blank slate (tabula rasa) in reaction to Informal, but as a figurative work. With the same method I studied the works of Franco Angeli. I read the veiling in two directions. The first as a filter of vision: for example, in the essay about the artist's beginnings, I examined the reference to the techniques of photographic development, and also his sources like Joseph Istler or Burri. Burri for the use of the matter, that Angeli transferred in the use of the scraps of nylon hoses. The second, the veiling as a negation of original meanings of political symbols: for example, in the essays written after the conferences at the Galleria d’Italia in Milan, at the HNHA in Paris and the Roman conference about the art and memory of fascism). The essay on the reenactment of the exhibition “Roma 60” in Turin, investigates the beginnings of these artists, the heritage of Burri for his positive use of matter, but also read the use of the matter as a precedent of the experimentation of Arte Povera. The first methodological attempt was to read Piero Dorazio's Cartographies as figurative works, although usually explained like abstract painting. The Cartographies are modulated surfaces of wooden painted in white, crossed by lines and circular elements. These surfaces are perceptually subject to the effects of natural or artificial lighting, which enhance their structure with a rhythmic contrast of lights and shadows. The essay analyses the several directions along which Dorazio’s research developed. The Cartographies are interpreted not only in relationship with the works of the masters of Abstractionism (from Kandinsky to Vantongerloo), but also within the broad and composite visual context outlined by Dorazio in La Fantasia dell’Arte nella vita moderna. Since at beginning, therefore, the pictorial production of Festa and Angeli revealed interests in the vision there transferred to the Cinema of artist in 1967. This is the topic of the monograph FRANCO ANGELI and TANO FESTA Painters with the camera, in which I explain how these painters used the camera as if it was a brush. During the scholarship at the Archives de la critique d'art in Rennes, I studied the archive of Pierre Restany, who was the first critic to write about young Romans and monochrome surface painting. 2013-14 2015-20 Research grant. “Photographic archives: new tools for a history of art criticism in the contemporary age”. During the research grant I studied the photographic archives of the roman galleries: La Tartaruga, L’Obelisco, Ugo Ferranti, La Nuova Pesa from 1960 to 1980. The geography, as in previous studies, remained linked to Rome but CHANGED METHOD AND AIMS. I was not interested in photography for its visual values or as a visual document of exhibitions. Instead, I was interested in photography as an object and part of a device, the archive, exactly. The archive like a devise in ever changing and increase for accumulation of documents. I investigated the dynamics of growth and accumulation of materials, dynamics frequently random. By definition, in fact, the archive grows randomly and unintentionally, recording, without selection, all activities of the gallery owner. I considered the photographic archive like a clump of information and documents in a relationship. I studied photography, first of all, as a document with its annotations on the back and not only as an image. I paid particular attention to the photographic proofs because are the testimony of the photographer's intentions. For example I analyzed the intentions of Plinio De Martiis in the essay on the magazine “Catalogo” in which the photographer used photography for a personal visual story, unconnected whit the texts. Recently, I studied the beginnings of Plinio De Martiis. When he was a photo-report for the Associated Photographic Agency (he was therefore a street photographer) between 1951 and 1953 and before becoming a gallery owner. In 1953 he made an interesting reportage on unpacking Picasso's works for the exhibition at National gallery of Rome in 1953. TEACHING Now I’m teaching at the Art History Laboratory in Roma Tre. The Laboratory aimed to provide at the students tools and methods for writing thesis and scientific texts, and to provide a methods of research including the online resources. I taught History of Contemporary Art for 3 years at the University of Florence. I taught at two master at the Roma Tre University, both aimed at the protection of cultural heritage and the fight against forgery. In fact, the center of the masters' activity is the “Laboratory of the False" where students study the false works confiscated by the police. My first publication on this subject, is a study of false Futurismi Rivisitati by Mario Schifano. Now I’m publishing a monograph about Festa that, in addiction at the PHD results, analyzed a group of sculptures that define Festa as a painter-architect, close to design. I collaborate with the CARBONE-MAGRI ARCHIVE and I am preparing an exhibition on Elisa who was a gallery owner and artist.