Cesare Brandi. El lenguaje clásico de la arquitectura - Guido Cimadomo (ed.)

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The purpose of this book is to rediscover the essence of classical architecture, as it avoids the simple chronological succession of styles and chooses alternatively certain periods to explain its evolution. The lucid descriptions of Cesare Brandi, prestigious Art historian, present the evolution of classical orders throughout history through some singular buildings from ancient Greek, Imperial Rome and Renaissance. His clever and extremely insightful observations, his peculiar way of understanding space and the relationships between interior and exterior, allow one to come to a deeper understanding of the genesis of some masterpieces, key pieces in the evolution of the history of architecture, explaining the intentions of their authors.

Unfortunately, Brandi's work has been scarcely published in Spain; apart from his indispensable Teoria del Restauro, only a few travel notebooks have been translated into Spanish. Confronted with the difficulty of gaining access to his entire essay corpus, the transversal reading generated by this selection of passages from different books, carried out by professor Guido Cimadomo presently offers the reader a first approximation to Brandi’s thought. They are high level critical texts that expose the genesis of classical architecture, and also demonstrate the literary value that Brandi always instills in his writings.

Cesare Brandi (1906-1988) has been one of the most recognised Art historians and founder of the Teoria del Restauro. In 1983 he founded the Istituto Centrale del Restauro along with Giulio Carlo Argan, giving total relevance to restoration, recuperation and conservation of works of art. His bibliography is extensive and varied, with a wide geographical and time scope, always with a personal and critical view that makes him one of the great Italian intellectuals of the 20th century. His profound knowledge of the history of art and architecture, compared to other great figures more specialised in specific fields, bestows him with the necessary knowledgable open-mind to express simply and clearly their genesis and transcendence. Works of art, whether pictorial or architectural, are seen as something unique and unrepeatable and his attentive analysis merges with other existing historiographic sources to give a clear reading of the intentions of the architects. Author of monographies, aesthetic writings, theory of art and of journalistic articles, his dialogues from the forties and fifties about painting, sculpture, poetry and architecture –which symbolically open this selection of texts–, remind us of the great treatise writers of the history of architecture.

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