189:, "merges a traditional art-historical approach with philosophical musings about the role of interior assemblage". Praz was one of the first critics to look into the links between the contexts of art history, and link it to the interior workings of a space. He was one of the first designers to note that furnishings were a representation of the individual. This is shown in this writing as he states "furnishings are tangible artefacts of social history". The concept of the need for furnishing is addressed in the initial stages of this publication. Praz sees the house and its interiority as "a continuum, which is always in need of furnishing". Through the grounding of this concept, "Praz takes the idea of the inhabiting subject, and the interior and its decoration, as pre-given concepts for the construction of this history, not ones that have emerged out of particular historical conditions", thus meaning that the furniture, the home and the interior all act as a "representational evocation" of the individual that resides in the home, reflecting the "character or the personality of the occupant". Ultimately, Praz challenges the concept of interior design and decoration, highlighting how the individual completely influences how the layout and decoration of their house will be presented. The concept that the interior is a personal reflection of the individual is personally manifested in his spatial autobiography
181:
representations of domesticity from ancient Greece through to the Art
Nouveau, and a commentary upon them." The images show the interior decor and design of Greek, Roman, Medieval, Renaissance and Victorian Homes in Europe between the period of 1770 and 1860. The sketches, paintings, and watercolour representations capture the spatial qualities and features of the interiority and decoration of the overall space. The images record accuracy to the shape of the room, from the carpet to the furniture, pictures, fabrics, wall colour, the hang of curtains and the placement of light. Praz's work has documented all these interior characteristics that would have shaped the space for the residents in the eighteenth and nineteenth centuries. This work has had a strong contribution to the impact of not only researching the interiority of a space, but also providing a new groundwork for recording the history of an interior.
204:
of the interiority of this space "shows the apartment (in a manner of a television program), providing autobiographical accounts of associations with furnishings". This autobiographical recount chronicles architecture and orchestrates the interior, giving the reader a full account of his home and "offering us the chance to follow the true routes of privacy, and to recreate the
Professor's universe, reduced to the dimensions of the human eye." His writing provides an insight into firstly how he accesses the space in which he lives, and how he inhabits that space.
319:
into
Hungarian; he asserted that comrade Praz is a harsh enemy of capitalism. Besides these fun facts, though, Praz has been highly admired in Italy and abroad. Edmund Wilson, in "The Genie of the Via Giulia", wrote that Praz "will come to be known to posterity—so far as a foreigner can judge—as one
96:
Praz married, on 17 March 1934 (separated 1942, divorced 1947), Vivyan
Leonora Eyles (1909–1984), an English-literature lecturer at the University of Liverpool whom Praz met during his time there as a special lecturer in Italian studies. She was a daughter of the English novelist and feminist writer
203:
is the easiest way to understand the concept of the interior representing the individual. Praz's work allows audiences to delve into the personal interior scope of his apartment by providing a "room by room description, of (the) flat in Rome in which he lived for thirty years". The thorough recount
180:
has allowed the creation of a photographic album to be made, "Praz's rediscovery of this minor but fascinating art . . . was a revelation, and the historic no less than aesthetic importance of the subject is now recognised by a group of informed collectors". His work "provides a selection of visual
243:
highlight the context of the interior designer, as a profession, in twenty-first-century societies. The work of the interior designer needs to be able to mimic individual needs and wants, so the person can correctly be represented in the interiority of their home. This concept was initially
139:
at the
Victoria University of Manchester between 1932 and 1934. He then went on to teach English Literature at the University of Rome from 1934, until he retired in 1966. In 1962, he was knighted by Queen Elizabeth II and became a Knight Commander of the Order of the British Empire
89:
Praz was the son of
Luciano Praz (died 1900), a bank clerk, and his wife, the former Giulia Testa di Marsciano (died 1931), daughter of Count Alcibiade Testa di Marsciano. His stepfather was Carlo Targioni (died 1954), a physician, whom his mother married in 1912.
239:. The concepts of linking the interior to social history are basically echoed in Savage’s work. This early influence of Praz’s writing in the mid-1960s continued throughout the remainder of the twentieth century. The concepts that were addressed in Praz’s work
144:. Though Praz is perhaps best known for his writings in the English literary field, he has made strong contributions to the concepts, writings and perception of both interior design and interior decoration. The concepts that were presented in his
184:
Further, Praz has made an influential impact on the way interior design has been studied and documented since the mid-twentieth century. He helped foster the change in the growth of historical design studies and research. His work,
734:
156:. These works highlight his theories of the interiority of a space, and reveal his concepts of how a person inhabits the interior and how they shape it to make it their own. His ground-breaking work
303:, December 1949: "There were authoritative critics: Marco Pron, Franci, Rossi, count Morra and Mademoiselle Bellonci, great animators of the Pen Club." Marco Pron is actually Mario Praz, misspelt.
280:, Mario Praz shows his peculiar irony and understatement in reporting cases of misquotations and misinterpretations of his studies or his personality abroad. He reports the following facts: In the
93:
He studied at the
University of Bologna (1914–15), received a law degree from the University of Rome (1918), and received a doctorate in literature from the University of Florence (1920).
264:"one of the most boring books I have ever read. . . . It's unbelievably exhausting. . . . It has a bravura of boredom, an audacity of ennui that makes one hardly believe one's eyes."
483:(March 2022). "La letteratura degli emblemi e delle imprese. Mario Praz e gli Studi sul concettismo" [Emblem Literature. Praz’s Studies in the Seventeenth-Century Imagery].
160:, first published in 1939 and reissued many times since, is one of the first attempts to produce a systematic catalogue and analysis of the early modern allegorical genres of the
141:
370:>. The reviewer points out that the last chapter was omitted in the English translation as well as the "numerous and excellent illustrations of the Italian original."
611:
Universal
Principles of Design: 125 Ways to Enhance Usability, Influence Perception, Increase Appeal, Make Better Design Decisions, and Teach Through Design
176:
Praz has had a profound impact not only on writings about interior design and decoration but also on the history, and the development, of design. The work,
212:. This detailed recount and writing style has been mimicked in subsequent design writing, in order to document every aspect of the interiority of a space.
59:(1933), was a comprehensive survey of the decadent, erotic and morbid themes that characterised European authors of the late 18th and 19th centuries (see
108:
Praz's only other known romantic attachment was to an Anglo-Italian woman named Perla
Cacciguerra, whom he met in 1953 and called "Diamante" in the book
724:
105:. She married in 1948, as her second husband, art historian Wolfgang Fritz Volbach. Praz and Eyles had one child, a daughter, Lucia Praz (born 1938).
287:, Gosse writes in a letter dated 17 November 1923: "Mario Praz is an interesting young professor, a great Swinburnian." In the "Italian Pageant",
148:
have been shaped into his design and art criticism. This writing style has been successfully employed in Praz's two most noteworthy design books,
619:
464:
413:
609:
744:
480:
719:
345:
22:
244:
introduced and highlighted by Praz, and this statement allows an insight into how the workings of the interior are conducted.
739:
729:
405:
668:
581:
714:
709:
78:
197:
have been continued and challenged through later design writings by other critics and historians.
363:
304:
218:
135:
Praz was a well-respected
Italian-born art critic and scholar of the English language. He taught
52:
223:
in art is associated with Praz, who used the term to refer to cluttered visual interior design.
65:
for a reference of one of his chapters). The book was written and published first in Italian as
315:
make the best reading in the world for a sexual criminal." Around 1950, Kadar Jennö translated
615:
460:
409:
341:
36:
295:
writes in his diary in 1923: "I dined with Abraham and Mario Praz. He is a great friend of
165:
136:
116:
312:
292:
253:
703:
288:
257:
98:
283:
61:
674:
Baxter, P., 1991, "Thirty Years of Growth in the Literature of Interior Design,"
651:, a cura di V. Gabrieli, Roma, Edizioni di storia e letteratura, 1966, pp. 6–17.
120:
669:
https://web.archive.org/web/20160304025448/http://tdd.elisava.net/collection/21
526:
Baxter P, 1991, "Thirty Years of Growth in the Literature of Interior Design",
402:
Complete Collection of Articles in English and Selected Writings by Mario Praz
296:
101:(1889–1960), who addressed to her in 1941 an autobiographical work entitled
252:
The varying opinions on Praz's design work can be seen in the writings of
512:
An Illustrated History of Interior Decoration from Pompeii to Art Nouveau
420:
An Illustrated History of Interior Decoration from Pompeii to Art Nouveau
178:
An Illustrated History of Interior Decoration from Pompeii to Art Nouveau
74:
585:
21:
614:(Revised and updated ed.). Beverley, Mass.: Rockport Publishers.
367:
260:. While Wilson praises Praz’s work as a "masterpiece", Connolly calls
127:
it is mentioned as "the most magnificent writer's museum I had seen".
161:
48:
45:
20:
299:." Marie-Anne Comnène, the widow of Benjamin Crémieux, writes in
235:
have made influential impacts on the writings in George Savage’s
459:. Translated by Feely, Maureen. New York: Vintage. p. 513.
41:
398:
English Miscellany: A Symposium of literature, history and arts
391:
Mnemosyne: The Parallel Between Literature and the Visual Arts.
291:
states: "Dr. Mario Praz, so long a staunch friend of England."
735:
Honorary Knights Commander of the Order of the British Empire
386:(Oxford, 1956). Translated from the Italian by Angus Davidson
193:. The concepts and documentation style that was presented in
227:
Influences on the future of design journals and design study
331:
La carne, la morte e il diavolo nella letteratura romantica
69:
La carne, la morte e il diavolo nella letteratura romantica
647:
Edmund Wilson, "The Genie of the via Giulia", in AA. VV.,
681:
Rice, C., 2004, "Rethinking Histories of the Interior,"
608:
Lidwell, William; Holden, Kritina; Butler, Jill (2010).
546:
Rice, "Thirty Years of Growth in Interior Design" p. 288
429:(translated by Angus Davidson), The Acadine Press, 1964
663:
Morgas, D., 2004, "The House and life of Mario Praz,"
575:
Morgas, D., 2004, "The House and life of Mario Praz",
497:
Rice C, 2004, "Rethinking Histories of the Interior",
445:
See the Knowledge (XXG) page on Mario Praz in Italian.
340:(1933). Translated from the Italian by Angus Davidson
119:
in Rome has been turned into the Museo Mario Praz. In
73:
in 1930; and the most recent edition was published in
393:
The A.W.Mellon Lectures in the Fine Arts 1967. (1967)
649:
Friendship's Garland. Essays presented to Mario Praz
358:by Mario Praz, Angus Davidson,” Book Review,
241:An Illustrated History of Interior Decoration
233:An Illustrated History of Interior Decoration
195:An Illustrated History of Interior Decoration
187:An Illustrated History of Interior Decoration
67:
8:
636:Voce dietro la scena: Un'antologia personale
694:The Journal of Aesthetics and Art Criticism
564:The Journal of Aesthetics and Art Criticism
231:The initial findings that are presented in
216:
320:of the best Italian writers of his time".
665:Memory, Communication, Economy and Design
577:Memory, Communication, Economy and Design
154:An Illustrated History in Interior Design
384:The Hero in Eclipse in Victorian Fiction
362:, 11, 41 (Jan., 1935): 109–111,<
51:of art and literature, and a scholar of
438:
377:Studies in Seventeenth-Century Imagery
208:basically mimics the writing style of
158:Studies in seventeenth-century imagery
35:
7:
554:
552:
542:
540:
538:
536:
522:
520:
237:A concise history of Interior Design
638:, Milano, Adelphi, 1980, pp. 13–23.
514:, Thames and Hudson (London), 1964.
688:Hough, H., 1965, "Reviewed works:
558:Hough, H., 1965, "Reviewed works:
14:
685:, vol. 9, no. 3, pp. 275–87.
422:, Thames and Hudson (London) 1964
725:Italian male non-fiction writers
696:, vol. 24, no. 2, pp. 317–8
678:, vol. 4, no. 4, pp. 242–3.
248:Critical views on design writing
44:– 23 March 1982, Rome) was an
1:
360:The Review of English Studies
683:The Journal of Architecture
566:, vol. 24, no. 2, pp. 317–8
501:, vol 9, no. 3, pp. 275–87.
499:The Journal of Architecture
485:la Biblioteca di via Senato
761:
745:Translators of T. S. Eliot
530:, vol 4, no. 4, pp. 242–3.
16:Italian critic and scholar
676:Journal of Design History
528:Journal of Design History
720:Italian literary critics
487:(in Italian) (3): 29–39.
282:Life and Letters of Sir
582:"Firewall Notification"
457:The Museum of Innocence
125:The Museum of Innocence
55:. His best-known book,
404:, in 10 vols. (Kyoto:
379:(London, 1939). 2 vols
278:Un'antologia personale
217:
210:An Illustrated History
68:
37:[ˈmaːrjoprats]
25:
455:Pamuk, Orhan (2010).
354:: V. de Sola Pinto, “
103:For My Enemy Daughter
24:
274:Voce dietro la scena
115:Praz's residence in
40:; 6 September 1896,
740:Italian translators
730:Italian art critics
481:Balducci, Giuseppe
356:The Romantic Agony
352:The Romantic Agony
338:The Romantic Agony
311:: "Mario Praz and
272:In his preface of
146:The Romantic Agony
57:The Romantic Agony
53:English literature
26:
690:The House of Life
621:978-1-61058-065-6
560:The House of Life
466:978-0-307-38624-3
427:The House of Life
414:978-4-902454-19-2
400:. Reprint of the
396:Praz, Mario, ed.
262:The House of Life
206:The House of Life
201:The House of Life
191:The House of Life
150:The House of Life
131:Life and writings
110:The House of Life
752:
652:
645:
639:
632:
626:
625:
605:
599:
597:
595:
593:
584:. Archived from
573:
567:
556:
547:
544:
531:
524:
515:
508:
502:
495:
489:
488:
477:
471:
470:
452:
446:
443:
317:Neoclassic Taste
301:Hommes et Mondes
222:
71:
39:
34:
760:
759:
755:
754:
753:
751:
750:
749:
700:
699:
692:, Mario Praz,"
660:
658:Further reading
655:
646:
642:
633:
629:
622:
607:
606:
602:
591:
589:
588:on 4 March 2016
580:
574:
570:
562:, Mario Praz",
557:
550:
545:
534:
525:
518:
509:
505:
496:
492:
479:
478:
474:
467:
454:
453:
449:
444:
440:
436:
350:Book review of
326:
309:The Outer Edges
305:Charles Jackson
270:
250:
229:
215:The concept of
174:
172:Design writings
166:personal device
137:Italian Studies
133:
117:Palazzo Primoli
87:
32:
17:
12:
11:
5:
758:
756:
748:
747:
742:
737:
732:
727:
722:
717:
712:
702:
701:
698:
697:
686:
679:
672:
667:, vol. 21 <
659:
656:
654:
653:
640:
627:
620:
600:
579:, vol. 21 <
568:
548:
532:
516:
503:
490:
472:
465:
447:
437:
435:
432:
431:
430:
423:
416:
394:
387:
380:
373:
372:
371:
334:
325:
322:
313:Bertold Brecht
293:Charles Du Bos
269:
268:Critical views
266:
254:Cyril Connolly
249:
246:
228:
225:
173:
170:
132:
129:
86:
83:
15:
13:
10:
9:
6:
4:
3:
2:
757:
746:
743:
741:
738:
736:
733:
731:
728:
726:
723:
721:
718:
716:
713:
711:
708:
707:
705:
695:
691:
687:
684:
680:
677:
673:
670:
666:
662:
661:
657:
650:
644:
641:
637:
631:
628:
623:
617:
613:
612:
604:
601:
587:
583:
578:
572:
569:
565:
561:
555:
553:
549:
543:
541:
539:
537:
533:
529:
523:
521:
517:
513:
507:
504:
500:
494:
491:
486:
482:
476:
473:
468:
462:
458:
451:
448:
442:
439:
433:
428:
424:
421:
417:
415:
411:
407:
403:
399:
395:
392:
389:Praz, Mario.
388:
385:
382:Praz, Mario.
381:
378:
375:Praz, Mario.
374:
369:
365:
361:
357:
353:
349:
348:
347:
346:0-19-281061-8
343:
339:
336:Praz, Mario.
335:
332:
329:Praz, Mario.
328:
327:
323:
321:
318:
314:
310:
306:
302:
298:
294:
290:
289:Derek Patmore
286:
285:
279:
275:
267:
265:
263:
259:
258:Edmund Wilson
255:
247:
245:
242:
238:
234:
226:
224:
221:
220:
213:
211:
207:
202:
198:
196:
192:
188:
182:
179:
171:
169:
167:
163:
159:
155:
151:
147:
143:
138:
130:
128:
126:
122:
118:
113:
111:
106:
104:
100:
99:Leonora Eyles
94:
91:
84:
82:
80:
76:
72:
70:
64:
63:
58:
54:
50:
47:
43:
38:
30:
23:
19:
693:
689:
682:
675:
664:
648:
643:
635:
634:Mario Praz,
630:
610:
603:
592:14 September
590:. Retrieved
586:the original
576:
571:
563:
559:
527:
511:
506:
498:
493:
484:
475:
456:
450:
441:
426:
419:
406:Eureka Press
401:
397:
390:
383:
376:
359:
355:
351:
337:
330:
324:Bibliography
316:
308:
300:
284:Edmund Gosse
281:
277:
273:
271:
261:
251:
240:
236:
232:
230:
219:horror vacuī
214:
209:
205:
200:
199:
194:
190:
186:
183:
177:
175:
157:
153:
149:
145:
134:
124:
114:
109:
107:
102:
95:
92:
88:
66:
62:Femme fatale
60:
56:
28:
27:
18:
715:1982 deaths
710:1896 births
121:Orhan Pamuk
704:Categories
510:Praz, M.,
434:References
425:Praz, M.,
418:Praz, M.,
297:Vernon Lee
29:Mario Praz
123:'s novel
97:Margaret
85:Biography
81:in 1996.
307:says in
164:and the
75:Florence
33:Italian:
79:Sansoni
46:Italian
618:
463:
412:
368:508692
366:
344:
333:, 1930
162:emblem
49:critic
364:JSTOR
671:>
616:ISBN
598:>
594:2011
461:ISBN
410:ISBN
342:ISBN
256:and
152:and
42:Rome
142:KBE
77:by
706::
551:^
535:^
519:^
408:)
276::
168:.
112:.
624:.
596:.
469:.
31:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
