Dal canone all'archiscrittura. Il gusto e la grafica da Bodoni al Bauhaus

This essay analyses the influence of Giambattista Bodoni's typographic theory and practice on twentieth-century graphic design. The revival, which was mainly due to the work of Le Corbusier, who adopted Bodoni's typeface for his own books, also involved the Bauhaus movement, which adopted the Parma typographer's stylistic aspirations, the common search for a universal typeface, and the linear and essential conception of the page. The còmpito addressed here is therefore less a historical-documentary than a theoretical analysis of the relationship between modern and contemporary graphic art, from Bodoni to the Bauhaus; but also between an artistic genre and a conceptual frame of reference, verifying whether, in understanding the nature, modes and intentions of typographic art, it is really appropriate to make it a subclass of visual or figurative art.