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The Enrico Crispolti Library is a private institution based in Rome that was established in the mid-1950s at the same time as the Enrico Crispolti Archive, in close connection with the development of Enrico Crispolti’s historical and critical activity.

The library material mainly documents the history of art in Europe and America between the 19th and 21st centuries in the overall framework of contemporary culture, social and political life, history and philosophy. It consists of a collection of over 85,000 publications, including general volumes, monographs, reasoned catalogs of the artists’ work and exhibition catalogs relating to movements, situations, groups and individual artists. A small part of the materials is already inserted in the SBN system, the remainder is being inserted.

The Enrico Crispolti Library has been declared of public interest and subject to restrictions under the Presidential Decree no. 1409 of 30 September 1963, by the provision of the Superintendence of Archival and Library Heritage of Lazio of 14 November 1992.


Among the works of particular rarity present in the Library are the documentary volumes of the Archives of Lionello Venturi,  Archives de l’Impressionisme, 1939; Maria Drudi Gambillo, Teresa Fiori,  Archives of Futurism , 1958, 1962; Anna Bovero,  Archive of the Six of Turin , 1965 and of Fortunato Bellonzi, Teresa Fiori,  Archives of Divisionism, 1968). General catalogs of the works of 19th and 20th century artists, including: Francisco Goya, Daumier (graphic works), Van Gogh, Baj, Baumeister, Boccioni, Brunori, Buchheister, Pellizza da Volpedo, Del Bon, Dottori, Dubuffet, Max Ernst, Fontana, Funi, Gentilini, Guttuso, Kandinskij, Klee, Lilloni, Magritte, Marc, Melotti, Miró, Morandi, Louis Morris, Pollock, Radice, Reggiani, Rho, Rothko, Savinio, Scanavino, Severini, Tancredi, and the Catalogs reasoned generals, drafted by himself, including: Baj, Fontana, Guttuso, Vacchi, Trubbiani, Moreni, Dova, and Dorazio, the latter left unfinished in 2018. Catalogs of engraving and lithography in the 19th century in Europe as Louis Delteil,  Le peintre-graveur illustré, Paris, 1969. Volumes relating to Symbolism and Art Nouveau: starting with the great syntheses of Tschudi-Madsen Schmutzler, and up to national contexts. Volumes relating to Italian art between the two wars, such as the Verzocchi Collection. The volume of “Cahiers d’Art” dedicated to Italy, 1950. Volumes relating to Italian and European architecture between the two wars, including: Fillia,  La Nuova Architettura , 1931. The environments of the New Architecture , 1935; Alberto Sartoris,  The elements of functional architecture , 1932.  The new lictorian style. The projects for the Palazzo del Littorio and the Exhibition of the Fascist Revolution in Via dell’Impero, 1936. Volumes of the history of the show like Gino Gori,  Il Mantello d’Arlecchino , 1914. Volumes of local history like Luigi Simeoni,  Verona. Historical and artistic guide , 1909, or Luigi Armellini,  The churches of Rome from the fourth to the nineteenth century , 1942. General volumes and monographs on aspects and individual personalities relating to Futurism and Futurisms, with original editions of texts by FT Marinetti and his Theater , edited by Giovanni Calendoli, 1960. Volumes such as Richard Cork,  Vorticism and Abstract Art in the first machine Age , 1976;  The Dictionary of Futurism, edited by Ezio Godoli, 2001. Volumes of movements and monographs by individual artists relating to the Soviet avant-garde, including S. Khan-Magomedov,  Vhutemas. Moscou , 1990. Volumes relating to Dadaism and Surrealism, including, in addition to the texts by André Breton, volumes such as William Rubin,  Dada and Surrealist Art , 1970. Volumes relating to the Bauhaus, including Hans Maria Wingler,  The Bauhaus. Weimar Dessau Berlin 1919-1933 , 1980 (in various editions starting from the original). Volumes relating to non-figurative art (starting with Seuphor’s volumes and repertoires), volumes relating to the Informal, including Michel Tapié,  Une art autre , 1952, and  Prolegomènes à un’esthétique de Michel Tapié. Volumes relating to Italian art of the second half of the 20th century, such as Umbro Apollonio, MarcoValsecchi,  Panorama of Italian art, 1950 and 1951. Writings by artists, including Malevic, Klee, Kandinskij, Schlemmer, Boccioni, Sironi, Carrà, Magritte, Soffici, Dubuffet, Baj. Original magazines, including “Italian Almanac”, “Futurist Rome”, “The Futurist City”, “The New City”, “The Modern Artist”, “Noi”, “Architecture and Decorative Arts”, between 1922 and 1931. “La Casa Bella”, “Quadrante”, “La Stirpe”, “Primato”, “The Defense of the race”, “Il ’45”, “Cahiers d’Art”, “AZ”, “Space”, “La Biennale of Venice ”,“ The 4 Suns ”,“ Quadrum ”“ Phases ”,“ Il Verri ”,“ Azimuth ”,“ Tool ”,“ Man and art ”,“ The tradition of the new ”. Reprinted magazines such as “Lacerba”, “Noi”, “L’Italia Futurista”, “La Balza”, “La Collezione”, “Il Selvaggio”, “Sic”, “Dada”, “Minotaure”, “La Révolution Surréaliste “,” Le Grand Jeu “,” Tropiques “,” Le Surréalisme au service de la Révolution “,” Cobra “,” Corrente “. Catalogs of major periodic exhibitions such as the Venice Biennale, the Roman Biennials, Documenta Kassel, the Rome Quadriennale, the Milan Triennale. Art criticism essays by Apollinaire, Arcangeli, Argan, Arnheim, Baltrušaitis, Barthes, Baudelaire, Benjamin, Brandi, Dorfles, Eco, Francastel, Greenberg, Hofmann, Huyghe, Jouffroy, Longhi, Marchiori, Panofsky, Ragghianti, Rosenberg, Sylvester , Tapié, L. Venturi, Villa.

Finally, other noteworthy documents include: 15 volumes of the Universal Encyclopedia of Art, Institute for Cultural Collaboration, Venzia-Rome, 1967; 14 volumes of the  History of Italian Art , Einaudi; 18 volumes of  Painting in Italy , Electa, Milan; 19 volumes of  Painting in Europe , Electa, Milan.

The constant increase of the library endowment reflects direct purchases, gifts, donations, or exchanges with organizations or individuals.


After the death of Enrico Crispolti, the Library, at the behest of the heirs, set for itself as medium-term objective the cataloging in SBN of all the publications present and the preparation of the bibliography of Crispolti, the latter to be published on the site


Since the beginning of the Sixties, the Library, like the Archive, has been based in Rome on the first floor of Piazza Nicosia 25. In 1983, it was moved to via di Ripetta 132 where, since 2006, the entrance on the street has been signaled by sculpture Grafts from the Archive , by Alberto Timossi (repr. 1-3, see scanned attachment ). Since 2014, the Library and the Archives have their permanent headquarters in Via Livenza 2. Since 2016, the entrance to the Archive is characterized by the Frondeliana sculpture , by Roberto Almagno (rip.… See, scanned attachment ).

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