Canova divulgato tra «Können» e «Wollen» nell’opera di Alfred Gotthold Meyer

Abstract

This article is a critical introduction to the Italian translation of Meyer's Canova monograph (1898), it focuses on the editorial process and on the use of photography during this early stage of popular art history. Further consideration is given to Meyer's critical point of view in the context of the German fin-de-siècle art discourse (Burckhardt, Springer, Bode, Wölfflin, Hildebrand).