Carlo e Licia

Carlo e Licia

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venerdì 4 novembre 2016

Biographie de Licia Collobi Ragghianti

Licia Collobi est neé à Trieste, ville encore sous l'empire des Hababourg, le 24 août 1914 de Alberto Golubic (par la suite italianisé en Collobi) et Silvia De Domazetovich. Elle a passé sa première enfance à Klagenfurt ù son père, blessé au bras en Galizia en 1915, fut transféré en tant que Commandant du Magasin Militaire. Désormais bilingue elle revint à Trieste avec sa famille après la guerre. Dans cette ville elle a frequenté les écoles primaires, secondaires, le premier an du gymnase et le dernier an du lycée.


giovedì 3 novembre 2016

Licia Collobi Ragghianti : A Biography

Licia Collobi was born in Trieste, still under Asburgic domination, on August 24th 1914, to Alberto Golubic (then italianized as Collobi) and Silvia De Domazetovich. She spent the first part of her infancy in Klagenfurt where her father, injured at an arm in Galizia in 1915, had been transferred as Commander of the Military Warehouse. Back in Trieste with her family after the war, being now bilingual Italian and German, Licia attended there Primary School, Secondary School and all the five years of Italian High School.
 Given her mother's poor health, ill with tuberculosis and recurrently hospitalized at the Bressanone Sanatorium, Licia attended in Bressanone the second,third and fourth year of High School, giving her exam of admission to the fifth year in Trieste, where she graduated with excellent marks. Mother and daughter went back to Trieste in 1932 and by the end of the year Licia also graduated as a piano player at the Music Conservatory.

lunedì 31 ottobre 2016

Ragghianti, Manzù and the Dancer

(Dance step, 1961)

From the correspondence Ragghianti-Manzù - that I consulted to answer a scholar's question - I extracted Ragghianti's letter to the sculptor of May 1st, 1964 because mentioning a "dance step" of the Master, which seemed to be referring to the Dancer given as a gift by the artist to the art historian. 
It was actually referring to another sculpture, but this research reminded me of a piece I wrote for "SeleArte" (IV series, n.24) published in 2003. The late president of the florentine antique dealers,