Grazia, «tremore d’aria» e chiaroscuro. Correggio Barockmaler nella critica di Max Dvořák

A peculiar case in point is that of the art of the painter Antonio Allegri da Correggio, who assumes within several Viennese writings a role of equal standing with Michelangelo and Titian in initiating a temperament that was to all intents and purposes baroque. The opportunity to assess a vocabulary of terms and concepts common to the most prominent members of the Wiener Schule is provided by reading unpublished notes from the lectures of the most «metaphysical» of them: Max Dvořák.