Grazia Deledda's Painterly Aesthetic

Section I: From the Language of the Painters of the Secessione Romana to Ignacio Zuloaga's Chromatism
Chapter 1: From the "Anticlassical" Barbagia to the "Gerusalemme dell'arte": The Representation of the Island in the Works of Grazia Deledda. Between Primitivism and the Aesthetics of the Secessions
Dino Manca
Chapter 2: Deledda, Modernism, Primitivism, and Contemporary Art
Giuliana Altea
Chapter 3: Grazia Deledda's Landscape Writings: Ignacio Zuloaga's Pictorial Suggestions in "L'uomo nuovo" and "Lasciare o prendere?"
Ombretta Frau

Section II: The Long Journey of Deledda's Narratives from Impressionism to Art Déco
Chapter 4: Impressionist Style in Deledda's Landscapes
Clara Incani Carta
Chapter 5: An Explorer's "Soul [...] Enlightened by the Shining Art": Grazia Deledda's Epistemology as a Traveller Through Observation, Discourse, and Image
Tania Manca

Section III: The Chiaroscuro of Deledda's Short Stories
Chapter 6: The Space Between: Deledda's Doors as Frames for Visual and Symbolic Landscapes
Marella Feltrin-Morris
Chapter 7: "The Feast of Christ" and the Practice of Forgiveness According to Grazia Deledda
Stefania Lucamante

Section IV: Artistic Connections across Continents: Deledda and Mansfield, Morisot, Cather, Wharton
Chapter 8: Between Affinity and Sisterhood: Nature and Art in Grazia Deledda's Visual Writing
Angela Guiso
Chapter 9: Landscapes of Desolation: Philosophical Pessimism in Grazia Deledda's Canne al vento (1913) and Edith Wharton's Ethan Frome (1911)
Maria Novella Mercuri
Chapter 10: Marianna Sirca, Alexandra Bergson, and Marie Tovesky Shabata: Understanding Grazia Deledda and Willa Cather's Female Protagonists through Berthe Morisot's Impressionist Paintings
Virginia A. Picchietti