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IDProjectCategoryView StatusLast Update
0017473ScribusFontspublic2025-03-26 20:27
Reporterguiodic Assigned Tonitramr  
PriorityurgentSeveritymajorReproducibilityalways
Status resolvedResolutionreopened 
PlatformLinuxOSManjaro/Arch 
Product Version1.7.1.svn 
Target Version1.7 milestoneFixed in Version1.7.1.svn 
Summary0017473: Characters disappeared when opening "old" files
DescriptionI created some files with the Scribus 1.7.1 svn version around 4 March. Opening them today, the text seems to have disappeared completely. The same is true for older files. The text still seems to be there but is not displayed, moreover it is not assigned any colour. Trying to change colour, however, the text does not reappear, at least not until I try to change the font.

The current version is 26809. I attach an example.





TagsNo tags attached.
PatchYes

Activities

guiodic

2025-03-24 13:18

reporter  

Pannelli 70x100.sla (66,843 bytes)   
<?xml version="1.0" encoding="UTF-8"?>
<SCRIBUSUTF8NEW Version="1.7.1.svn">
    <DOCUMENT ANZPAGES="4" PAGEWIDTH="1984.25196850394" PAGEHEIGHT="2834.64566929134" BORDERLEFT="0" BORDERRIGHT="0" BORDERTOP="0" BORDERBOTTOM="0" PRESET="0" BleedTop="0" BleedLeft="0" BleedRight="0" BleedBottom="0" ORIENTATION="0" PAGESIZE="Custom" FIRSTNUM="1" BOOK="0" AUTOSPALTEN="1" ABSTSPALTEN="11" UNITS="1" DFONT="Avenir Next LT Pro Regular" DSIZE="34" DCOL="1" DGAP="0" TabFill="" TabWidth="36" TextDistLeft="0" TextDistRight="0" TextDistBottom="0" TextDistTop="0" FirstLineOffset="1" AUTHOR="" COMMENTS="" KEYWORDS="" PUBLISHER="" DOCDATE="" DOCTYPE="" DOCFORMAT="" DOCIDENT="" DOCSOURCE="" DOCLANGINFO="" DOCRELATION="" DOCCOVER="" DOCRIGHTS="" DOCCONTRIB="" TITLE="" SUBJECT="" VHOCH="33" VHOCHSC="66" VTIEF="33" VTIEFSC="66" VKAPIT="75" BASEGRID="14.4" BASEO="0" AUTOL="100" UnderlinePos="-1" UnderlineWidth="-1" StrikeThruPos="-1" StrikeThruWidth="-1" GROUPC="1" HCMS="0" DPSo="1" DPSFo="0" DPuse="0" DPgam="0" DPbla="1" DPPr="Coated FOGRA27 (ISO 12647-2:2004)" DPIn="sRGB IEC61966-2.1" DPInCMYK="Coated FOGRA27 (ISO 12647-2:2004)" DPIn2="sRGB IEC61966-2.1" DPIn3="Coated FOGRA27 (ISO 12647-2:2004)" DISc="1" DIIm="0" ALAYER="1" LANGUAGE="it" AUTOMATIC="1" AUTOCHECK="0" GUIDELOCK="0" SnapToGuides="0" SnapToGrid="0" SnapToElement="0" MINGRID="20.0012598425197" MAJGRID="100.00062992126" SHOWGRID="0" SHOWGUIDES="1" showcolborders="1" SHOWFRAME="1" SHOWControl="0" SHOWLAYERM="0" SHOWMARGIN="1" SHOWBASE="0" SHOWPICT="1" SHOWLINK="1" rulerMode="1" showrulers="1" showBleed="1" rulerXoffset="0" rulerYoffset="0" GuideRad="10" GRAB="4" POLYC="4" POLYF="0.502045814642449" POLYR="0" POLYIR="0" POLYCUR="0" POLYOCUR="0" POLYS="0" arcStartAngle="30" arcSweepAngle="300" spiralStartAngle="0" spiralEndAngle="1080" spiralFactor="1.2" AutoSave="1" AutoSaveTime="180000" AutoSaveCount="3" AutoSaveKeep="0" AUtoSaveInDocDir="1" AutoSaveDir="" ScratchBottom="20.0012598425197" ScratchLeft="100.00062992126" ScratchRight="100.00062992126" ScratchTop="20.0012598425197" GapHorizontal="0" GapVertical="70.8661417322835" StartArrow="0" EndArrow="0" PEN="Black" BRUSH="None" PENLINE="Black" PENTEXT="Black" StrokeText="Black" TextBackGround="None" TextLineColor="None" TextBackGroundShade="100" TextLineShade="100" TextPenShade="100" TextStrokeShade="100" STIL="1" STILLINE="1" WIDTH="1" WIDTHLINE="1" PENSHADE="100" LINESHADE="100" BRUSHSHADE="100" CPICT="None" PICTSHADE="100" CSPICT="None" PICTSSHADE="100" PICTSCX="1" PICTSCY="1" PSCALE="1" PASPECT="1" EmbeddedPath="0" HalfRes="1" dispX="14.1732283464567" dispY="14.1732283464567" constrain="15" MINORC="#00ff00" MAJORC="#00ff00" GuidesColor="#000080" BaselineGridColor="#c0c0c0" renderStack="4 0 1 2 3" GridType="1" PAGEC="#ffffff" MARGC="#ffaa00" RANDF="1" currentProfile="PDF 1.4" calligraphicPenFillColor="Black" calligraphicPenLineColor="Black" calligraphicPenFillColorShade="100" calligraphicPenLineColorShade="100" calligraphicPenLineWidth="1" calligraphicPenAngle="0" calligraphicPenWidth="10" calligraphicPenStyle="1">
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        <CheckProfile Name="PDF 1.5" ignoreErrors="0" autoCheck="1" checkGlyphs="1" checkOrphans="1" checkOverflow="1" checkPictures="1" checkPartFilledImageFrames="0" checkResolution="1" checkTransparency="0" minResolution="144" maxResolution="2400" checkAnnotations="0" checkRasterPDF="1" checkForGIF="1" ignoreOffLayers="0" checkNotCMYKOrSpot="0" checkDeviceColorsAndOutputIntent="0" checkFontNotEmbedded="1" checkFontIsOpenType="1" checkAppliedMasterDifferentSide="1" checkEmptyTextFrames="1"/>
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        <CheckProfile Name="PDF/X-4" ignoreErrors="0" autoCheck="1" checkGlyphs="1" checkOrphans="1" checkOverflow="1" checkPictures="1" checkPartFilledImageFrames="0" checkResolution="1" checkTransparency="0" minResolution="144" maxResolution="2400" checkAnnotations="1" checkRasterPDF="1" checkForGIF="1" ignoreOffLayers="0" checkNotCMYKOrSpot="0" checkDeviceColorsAndOutputIntent="1" checkFontNotEmbedded="1" checkFontIsOpenType="0" checkAppliedMasterDifferentSide="1" checkEmptyTextFrames="1"/>
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        <COLOR NAME="FromOdt#0070c0" SPACE="RGB" R="0" G="112" B="192"/>
        <COLOR NAME="FromOdt#ff0000" SPACE="RGB" R="255" G="0" B="0"/>
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        <COLOR NAME="Registration" SPACE="CMYK" C="100" M="100" Y="100" K="100" Register="1"/>
        <COLOR NAME="White" SPACE="CMYK" C="0" M="0" Y="0" K="0"/>
        <HYPHEN/>
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        <STYLE NAME="Testo ita" ALIGN="3" LINESPMode="1" OpticalMarginSetId="preset_0" FONT="Avenir Next LT Pro Regular" FONTSIZE="40" FONTFEATURES="-clig" LANGUAGE="it"/>
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        <TableStyle NAME="Default Table Style" DefaultStyle="1" FillColor="None" FillShade="100">
            <TableBorderLeft>
                <TableBorderLine Width="1" PenStyle="1" Color="Black" Shade="100"/>
            </TableBorderLeft>
            <TableBorderRight>
                <TableBorderLine Width="1" PenStyle="1" Color="Black" Shade="100"/>
            </TableBorderRight>
            <TableBorderTop>
                <TableBorderLine Width="1" PenStyle="1" Color="Black" Shade="100"/>
            </TableBorderTop>
            <TableBorderBottom>
                <TableBorderLine Width="1" PenStyle="1" Color="Black" Shade="100"/>
            </TableBorderBottom>
        </TableStyle>
        <CellStyle NAME="Default Cell Style" DefaultStyle="1" FillColor="None" FillShade="100" LeftPadding="1" RightPadding="1" TopPadding="1" BottomPadding="1"/>
        <LAYERS NUMMER="0" LEVEL="0" NAME="Sfondo" SICHTBAR="1" DRUCKEN="1" EDIT="1" SELECT="0" FLOW="1" TRANS="1" BLEND="0" OUTL="0" LAYERC="#000000"/>
        <LAYERS NUMMER="1" LEVEL="1" NAME="Testo" SICHTBAR="1" DRUCKEN="1" EDIT="1" SELECT="0" FLOW="1" TRANS="1" BLEND="0" OUTL="0" LAYERC="#ff0000"/>
        <Printer firstUse="1" toFile="0" useAltPrintCommand="0" outputSeparations="0" useSpotColors="0" useColor="1" mirrorH="0" mirrorV="0" useICC="0" doGCR="0" doClip="0" setDevParam="0" useDocBleeds="1" cropMarks="0" bleedMarks="0" registrationMarks="0" colorMarks="0" includePDFMarks="1" PSLevel="3" PrintEngine="3" markLength="20.0013" markOffset="0" BleedTop="0" BleedLeft="0" BleedRight="0" BleedBottom="0" printer="HP_MFP_M880" filename="" separationName="All" printerCommand=""/>
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            <LPI Color="Black" Frequency="133" Angle="45" SpotFunction="3"/>
            <LPI Color="Cyan" Frequency="133" Angle="105" SpotFunction="3"/>
            <LPI Color="Magenta" Frequency="133" Angle="75" SpotFunction="3"/>
            <LPI Color="Yellow" Frequency="133" Angle="90" SpotFunction="3"/>
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        <Indexes/>
        <TablesOfContents/>
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                <Rules>
                    <Rule Left="0" Right="0.5" Unit="7" Characters="U+003A,U+003B,U+2013,U+2033"/>
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                <PageNames Name="Right Page"/>
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                <PageNames Name="Left Page"/>
                <PageNames Name="Middle"/>
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                <PageNames Name="Middle Right"/>
                <PageNames Name="Right Page"/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Giorgio de Chirico ha coltivato un interesse profondo e costante per la scultura, una passione già evidente nei suoi primi dipinti metafisici, dove le statue assumono un ruolo centrale, conferendo alle composizioni un'aura enigmatica e sospesa. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Questa fascinazione non solo è rimasta viva nel corso del tempo, ma si è rinnovata con intensità fino alle sue ultime creazioni, testimoniando un dialogo continuo tra pittura e tridimensionalità."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Nel corso dei decenni, il suo rapporto con la scultura si è progressivamente evoluto, portandolo alla realizzazione di autentiche opere plastiche. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Questo percorso ha avuto il suo momento decisivo a partire dalla fine degli anni Trenta, per poi culminare nella straordinaria produzione degli anni Sessanta e Settanta, periodo in cui ha dato vita a una serie di sculture di grande importanza."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Pur dedicandosi con crescente impegno alla scultura, il legame di de Chirico con la pittura ha trovato, quindi, una nuova espressione nella dimensione tridimensionale. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Le sue sculture sembrano, infatti, dare corpo ai protagonisti dei suoi dipinti, come gli Archeologi/Oreste e Pilade, le Muse inquietanti, fino ai cavalli, ai cavalieri e ai palafrenieri. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="De Chirico sosteneva che lo scultore non fosse vincolato alla necessità di compensare il vuoto della linea, ma che fosse chiamato a un’operazione quasi mistica di ricerca e rivelazione. Egli paragonava il proprio lavoro a quello di un rabdomante, capace di individuare e liberare le forme imprigionate nella materia grezza, sia essa creta o marmo. La scultura, per lui, non era semplicemente un atto tecnico, ma una pratica di scoperta, in cui l’artista, con un approccio vicino a quello michelangiolesco, estrae la forma ideale dal blocco inerte, donandole una nuova vita. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="In questo processo, l’opera si colloca in un territorio sospeso tra il mondo fisico e quello metafisico, trasportando l’osservatore in una dimensione oltre il visibile, in cui il mistero e la poesia della forma si rivelano nella loro essenza. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en_GB" CH="Giorgio de Chirico cultivated a profound and constant interest in sculpture, a passion already evident in his first metaphysical paintings, where statues take on a central role, giving the compositions an enigmatic and suspended aura. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en_GB" CH="This fascination not only remained alive over the course of time, but was renewed with intensity until his final creations, bearing witness to an ongoing dialogue between painting and three-dimensionality."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en_GB" CH="Over the decades, his relationship with sculpture progressively evolved, leading him to produce authentic plastic works. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en_GB" CH="This path had its decisive moment starting from the late 1930s, culminating in the extraordinary production of the 1960s and 1970s, a period that saw him create a series of highly important sculptures."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en_GB" CH="Although dedicating himself with growing commitment to sculpture, de Chirico’s bond with painting therefore found a new expression in three dimensions. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en_GB" CH="His sculptures in fact appear to flesh out the figures in his paintings, like the Archaeologists/Orestes and Pylades, the unsettling Muses, and even the horses, the knights, and the grooms. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en_GB" CH="De Chirico maintained that the sculptor was not bound to the need to compensate the void of the line, but was called upon for an almost mystical operation of exploration and revelation. He compared his own work to that of a diviner, capable of identifying and freeing the forms imprisoned in the raw material, be it clay or marble. For him, sculpture was not simply a technical act, but a practice of discovery in which the artist, with an approach close to the style of Michelangelo, extracts the ideal shape from the inert block, endowing it with new life. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Le litografie esposte in mostra nascono dalla collaborazione tra Giorgio de Chirico e il maestro stampatore Alberto Caprini, collaborazione da cui è nato un "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH=" grafico straordinario, espressione della piena maturità creativa del periodo neometafisico. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH=" della sua opera, complessa, polimorfica e, allo stesso tempo, coerente: dalle Piazze d’Italia agli Interni metafisici, dai manichini dei Trovatori e di Ettore e Andromaca ai Gladiatori, agli Archeologi e ai Trofei, dal Figliol Prodigo ai cavalli, ai Bagni Misteriosi e agli autoritratti. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Con la libertà del maestro che ormai può giocare al grande gioco dell’arte, de Chirico mescola le varianti stilistiche dei suoi diversi periodi e le rimescola in un sapiente e coerente insieme di accostamenti e di variazioni, dove una visione più “classica” si alterna a certe deformazioni espressive tipiche delle opere degli anni Venti a Parigi, riprese proprio nel periodo neometafisico. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Nelle sale di questo ideale museo privato de Chirico rianima le sue creazioni: il Vaticinatore diventa un Architetto metafisico, il Figliol Prodigo ritrova suo padre trasformato in un Archeologo, i Trovatori sono eletti in cielo tra le squadre geometriche e le nuvole, appaiono sulle spiagge o nelle stanze misteriose, il guanto enigmatico della rivelazione indica ancora la scacchiera sul pavimento, Arianna immobile accompagna il gioco della bambina nel mistero e nella malinconia del carrozzone dello sgombero. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="In queste litografie il maestro ricompone la propria storia artistica, sospeso tra ripetizione e reinvenzione: il tramonto dei soli neri, i fulmini tramutati in arcobaleni e gli archeologi immobili davanti alla luce dorata simboleggiano la rinnovata vitalità della stagione neometafisica, in cui passato e presente si intrecciano in un’eterna metamorfosi dell’arte. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" CH=", an expression of the full creative maturity of the Neo-Metaphysical period. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" CH="This partnership afforded de Chirico the freedom to explore the passage from drawing to printing while re-elaborating his most famous iconographies with rigour and refinement. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" CH="Thus, in these folios, de Chirico provides an authentic "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" CH=" of his complex, polymorphic yet consistent work: from the Piazzas of Italy to Metaphysical Interiors; from the mannequins of the Troubadors and of Hector and Andromache to Gladiators, Archaeologists and Trophies; from the Prodigal Son to horses, Mysterious Baths, and self-portraits. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" CH="With the freedom of the master now able to play at the great game of art, de Chirico mixes the stylistic disparities of his different periods and blends them into a shrewd and coherent set of juxtapositions and variants, in which a more “classical” vision alternates with certain expressive deformations typical of the works in Paris in the 1920s, resumed precisely in the Neo-Metaphysical period. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Giorgio de Chirico nasce a Volos, in Grecia, il 10 luglio 1888 da genitori di cittadinanza italiana. Dal 1903 al 1906 frequenta il Politecnico di Atene. Nel settembre 1906 si trasferisce a Monaco insieme alla madre e al fratello e frequenta l’Accademia di Belle Arti. Nel marzo del 1910 si stabilisce a Firenze, sempre"/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="con la madre e il fratello Andrea. Ha la sua rivelazione metafisica in Piazza Santa Croce e realizza i suoi primi dipinti metafisici: "/>
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                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" CH="L’énigme de l’heure"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH=". Il 14 luglio 1911, insieme alla madre, raggiunge il fratello a Parigi. Qui svilupperà il tema delle piazze d’Italia, ispirato dall’architettura torinese e dagli insegnamenti della filosofia nietzschiana. Nel marzo 1913 espone tre dipinti al Salon des Indépendants; in questa occasione è notato da Picasso e Apollinaire. Con quest’ultimo inizia una collaborazione e un’amicizia che durerà nel tempo. Nel 1914, grazie all’interessamento di Apollinaire, conosce il suo primo mercante, Paul Guillaume. Nel 1915 inizia il ciclo di opere caratterizzato dalla presenza di “manichini”. Nel maggio dello stesso anno si presenta alle autorità militari di Firenze e viene trasferito a Ferrara. Qui comincia a dipingere i primi interni metafisici."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Tra il 1917 e il 1918 realizza anche le sue opere più note: "/>
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                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" CH="Ettore e Andromaca"/>
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                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" CH="Il Trovatore"/>
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                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" CH="Le muse inquietanti "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="(1918). Continua ad avere contatti con l’ambiente parigino e a inviare le proprie opere a Paul Guillaume. Il primo gennaio 1919 si trasferisce a Roma. A febbraio ha luogo la sua prima mostra personale alla Casa d’Arte Bragaglia."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Nella città eterna riscopre l’arte dei grandi artisti nei musei e inizia a fare copie delle opere dei maestri italiani del Rinascimento, tra cui Raffaello e Michelangelo. Nel 1924, sempre a Roma, conosce la sua prima moglie, Raissa Gourevitch Krol."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Alla fine del 1925 si stabilisce nuovamente a Parigi. I soggetti dei suoi dipinti sono gli archeologi, i cavalli in riva al mare, i trofei, i paesaggi nella stanza, i mobili nella valle e i gladiatori."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="I surrealisti criticano duramente le sue opere"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="FromOdt#ff0000" CH=" "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="più recenti. La frattura con il gruppo è ormai totale e destinata ad aggravarsi negli anni successivi. "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" LANGUAGE="fr" CH="Nel 1929 l’Éditions du Carrefour di Pierre Lévy pubblica "/>
                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" LANGUAGE="fr" CH="Hebdomeros, le peintre et son génie chez l’écrivain"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" LANGUAGE="fr" CH=". "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Nel 1930 il matrimonio con Raissa volge al termine. Nel medesimo anno incontra la sua seconda moglie, Isabella Pakszwer Far, che gli resterà accanto fino alla morte. Nell’agosto del 1936 parte per New York, per tornare in Italia all’inizio di gennaio del"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="FromOdt#ff0000" CH=" "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="1938. Negli anni Quaranta inizia a lavorare a una serie di sculture in terracotta e nel 1941 illustra "/>
                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" CH="L’Apocalisse"/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="FromOdt#0070c0" CH=" "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Nel 1948 la Biennale di Venezia organizza un’esposizione sulla pittura metafisica nella quale viene premiato Giorgio Morandi e dove, tra le opere esposte, figura anche “un formidabile falso” di de Chirico. Nello stesso anno, dopo una vita di spostamenti, l’artista si stabilisce definitivamente a Roma, al n. 31 di Piazza di Spagna, ove vivrà e lavorerà gli ultimi trent’anni della sua vita nell’appartamento-studio a tre piani, oggi visitabile come Casa-museo. Nel 1950, in polemica con la precedente Biennale, organizza, nella sede della Società Canottieri Bucintoro di Venezia, una “Anti-biennale”. Nel 1952 sposa Isabella. Il 5 maggio dello stesso anno muore suo fratello, Alberto Savinio. A partire dalla fine degli anni Sessanta inizia un nuovo periodo di ricerca, conosciuto come Neometafisica, durante il quale dipinge opere sulla meditazione e la rielaborazione di soggetti della sua pittura e arte grafica degli anni Dieci, Venti e Trenta. Soggetti come il Manichino, il Trovatore, gli Archeologi, i Gladiatori, i Bagni Misteriosi e il Sole sul cavalletto sono reinterpretati sotto una nuova luce, con colori accesi e atmosfere più serene rispetto a quelle severe e cupe, pervase da una strana sensazione d’inquietudine, della prima Metafisica. Nel 1973 realizza la"/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH=", in occasione della XV Triennale di Milano, nel parco Sempione."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Nel novembre del 1974 viene insignito del titolo di Accademico di Francia. Il 20 novembre 1978 Giorgio de Chirico si spegne a Roma, all’età di novant’anni, e dal 1992 le sue spoglie riposano presso la chiesa di San Francesco a Ripa in Trastevere."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH="Giorgio de Chirico was born to Italian nationals in Volos, Greece, on 10 July 1888. From 1903 to 1906, he attended the National Technical University of Athens. In September 1906, he relocated to Munich with his mother and brother, where he attended the Fine Arts Academy. In March of 1910, he settled in Florence, again with his mother and his brother Andrea. He had his metaphysical revelation in Piazza Santa Croce and did his first metaphysical paintings: "/>
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Pannelli 70x100.sla (66,843 bytes)   

nitramr

2025-03-24 15:50

developer   ~0052314

I guess the issues relates to recent changes in the file structure from yesterday.

When I open the file, save it with a new name and compare it with the original file, I see differences.
Of course, some attribute names have been renamed, but the default character style and custom paragraph styles has now missing information:
FONT, FONTSIZE, FONTFEATURES, FEATURES, FCOLOR, FSHADE, HyphenWordMin, SCOLOR, BGCOLOR, BGSHADE, SSHADE, TXTSHX, TXTSHY, TXTOUT, TXTULP ... etc.

When I opened the file, I had to replace the fonts, because I haven't installed the required fonts from document. But I don't think this is the issue, because when I open the file in Scribus 1.6.3 I have to replace the fonts too, but the rendering is correct.
Pannelli 70x100 (1.7.1_26809).sla (55,910 bytes)   
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                <ITEXT CH="Giorgio de Chirico ha coltivato un interesse profondo e costante per la scultura, una passione già evidente nei suoi primi dipinti metafisici, dove le statue assumono un ruolo centrale, conferendo alle composizioni un'aura enigmatica e sospesa. "/>
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                <ITEXT CH="Questa fascinazione non solo è rimasta viva nel corso del tempo, ma si è rinnovata con intensità fino alle sue ultime creazioni, testimoniando un dialogo continuo tra pittura e tridimensionalità."/>
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                <ITEXT CH="Nel corso dei decenni, il suo rapporto con la scultura si è progressivamente evoluto, portandolo alla realizzazione di autentiche opere plastiche. "/>
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                <ITEXT CH="Questo percorso ha avuto il suo momento decisivo a partire dalla fine degli anni Trenta, per poi culminare nella straordinaria produzione degli anni Sessanta e Settanta, periodo in cui ha dato vita a una serie di sculture di grande importanza."/>
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                <ITEXT CH="Pur dedicandosi con crescente impegno alla scultura, il legame di de Chirico con la pittura ha trovato, quindi, una nuova espressione nella dimensione tridimensionale. "/>
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                <ITEXT CH="Le sue sculture sembrano, infatti, dare corpo ai protagonisti dei suoi dipinti, come gli Archeologi/Oreste e Pilade, le Muse inquietanti, fino ai cavalli, ai cavalieri e ai palafrenieri. "/>
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                <ITEXT CH="De Chirico sosteneva che lo scultore non fosse vincolato alla necessità di compensare il vuoto della linea, ma che fosse chiamato a un’operazione quasi mistica di ricerca e rivelazione. Egli paragonava il proprio lavoro a quello di un rabdomante, capace di individuare e liberare le forme imprigionate nella materia grezza, sia essa creta o marmo. La scultura, per lui, non era semplicemente un atto tecnico, ma una pratica di scoperta, in cui l’artista, con un approccio vicino a quello michelangiolesco, estrae la forma ideale dal blocco inerte, donandole una nuova vita. "/>
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                <ITEXT CH="In questo processo, l’opera si colloca in un territorio sospeso tra il mondo fisico e quello metafisico, trasportando l’osservatore in una dimensione oltre il visibile, in cui il mistero e la poesia della forma si rivelano nella loro essenza. "/>
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                <ITEXT CH="Giorgio de Chirico cultivated a profound and constant interest in sculpture, a passion already evident in his first metaphysical paintings, where statues take on a central role, giving the compositions an enigmatic and suspended aura. "/>
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                <ITEXT CH="This fascination not only remained alive over the course of time, but was renewed with intensity until his final creations, bearing witness to an ongoing dialogue between painting and three-dimensionality."/>
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                <ITEXT CH="Over the decades, his relationship with sculpture progressively evolved, leading him to produce authentic plastic works. "/>
                <para LINESP="45"/>
                <ITEXT CH="This path had its decisive moment starting from the late 1930s, culminating in the extraordinary production of the 1960s and 1970s, a period that saw him create a series of highly important sculptures."/>
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                <ITEXT CH="Although dedicating himself with growing commitment to sculpture, de Chirico’s bond with painting therefore found a new expression in three dimensions. "/>
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                <ITEXT CH="His sculptures in fact appear to flesh out the figures in his paintings, like the Archaeologists/Orestes and Pylades, the unsettling Muses, and even the horses, the knights, and the grooms. "/>
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                <ITEXT CH="De Chirico maintained that the sculptor was not bound to the need to compensate the void of the line, but was called upon for an almost mystical operation of exploration and revelation. He compared his own work to that of a diviner, capable of identifying and freeing the forms imprisoned in the raw material, be it clay or marble. For him, sculpture was not simply a technical act, but a practice of discovery in which the artist, with an approach close to the style of Michelangelo, extracts the ideal shape from the inert block, endowing it with new life. "/>
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                <ITEXT CH="In this process, the work is placed in a territory suspended between the physical and the metaphysical world, transporting the viewer into a dimension beyond the visible, in which the mystery and poetry of form are revealed in their very essence."/>
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                <ITEXT CH="la litografia"/>
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                <ITEXT CH="Le litografie esposte in mostra nascono dalla collaborazione tra Giorgio de Chirico e il maestro stampatore Alberto Caprini, collaborazione da cui è nato un corpus grafico straordinario, espressione della piena maturità creativa del periodo neometafisico. "/>
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                <ITEXT CH="Grazie a questo sodalizio, de Chirico ha potuto esplorare con libertà il passaggio dal disegno alla stampa, rielaborando con rigore e finezza le sue iconografie più celebri. "/>
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                <ITEXT CH="In questi fogli de Chirico sintetizza, dunque, una vera e propria summa della sua opera, complessa, polimorfica e, allo stesso tempo, coerente: dalle Piazze d’Italia agli Interni metafisici, dai manichini dei Trovatori e di Ettore e Andromaca ai Gladiatori, agli Archeologi e ai Trofei, dal Figliol Prodigo ai cavalli, ai Bagni Misteriosi e agli autoritratti. "/>
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                <ITEXT CH="Con la libertà del maestro che ormai può giocare al grande gioco dell’arte, de Chirico mescola le varianti stilistiche dei suoi diversi periodi e le rimescola in un sapiente e coerente insieme di accostamenti e di variazioni, dove una visione più “classica” si alterna a certe deformazioni espressive tipiche delle opere degli anni Venti a Parigi, riprese proprio nel periodo neometafisico. "/>
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                <ITEXT CH="Nelle sale di questo ideale museo privato de Chirico rianima le sue creazioni: il Vaticinatore diventa un Architetto metafisico, il Figliol Prodigo ritrova suo padre trasformato in un Archeologo, i Trovatori sono eletti in cielo tra le squadre geometriche e le nuvole, appaiono sulle spiagge o nelle stanze misteriose, il guanto enigmatico della rivelazione indica ancora la scacchiera sul pavimento, Arianna immobile accompagna il gioco della bambina nel mistero e nella malinconia del carrozzone dello sgombero. "/>
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                <ITEXT CH="In queste litografie il maestro ricompone la propria storia artistica, sospeso tra ripetizione e reinvenzione: il tramonto dei soli neri, i fulmini tramutati in arcobaleni e gli archeologi immobili davanti alla luce dorata simboleggiano la rinnovata vitalità della stagione neometafisica, in cui passato e presente si intrecciano in un’eterna metamorfosi dell’arte. "/>
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                <ITEXT CH="The lithographs on display in the exhibition arise from the collaboration between Giorgio de Chirico and the master printer Alberto Caprini – a collaboration that gave rise to an extraordinary graphic corpus, an expression of the full creative maturity of the Neo-Metaphysical period. "/>
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                <ITEXT CH="This partnership afforded de Chirico the freedom to explore the passage from drawing to printing while re-elaborating his most famous iconographies with rigour and refinement. "/>
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                <ITEXT CH="Thus, in these folios, de Chirico provides an authentic summa of his complex, polymorphic yet consistent work: from the Piazzas of Italy to Metaphysical Interiors; from the mannequins of the Troubadors and of Hector and Andromache to Gladiators, Archaeologists and Trophies; from the Prodigal Son to horses, Mysterious Baths, and self-portraits. "/>
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                <ITEXT CH="With the freedom of the master now able to play at the great game of art, de Chirico mixes the stylistic disparities of his different periods and blends them into a shrewd and coherent set of juxtapositions and variants, in which a more “classical” vision alternates with certain expressive deformations typical of the works in Paris in the 1920s, resumed precisely in the Neo-Metaphysical period. "/>
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                <ITEXT CH="In the rooms of this ideal private museum, de Chirico brings new life to his creations: the Soothsayer becomes a metaphysical Architect, the Prodigal Son finds his father transformed into an Archaeologist, the Troubadors are elected in heaven among the set squares and clouds; they appear on the beaches or in the mysterious rooms. The enigmatic glove of the revelation still indicates the chessboard on the floor; an immobile Ariadne accompanies the girl’s play in the mystery and melancholy of the moving van. "/>
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                <ITEXT CH="In these lithographs, the master reassembles his own artistic history, suspended between repetition and reinvention: the black sunsets, the lightning bolts transmuted into rainbows, the archaeologists standing motionless before the golden light symbolize the reinvigorated vitality of the Neo-Metaphysical season, in which past and present are interwoven in an eternal metamorphosis of art."/>
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                <ITEXT CH="Giorgio de Chirico nasce a Volos, in Grecia, il 10 luglio 1888 da genitori di cittadinanza italiana. Dal 1903 al 1906 frequenta il Politecnico di Atene. Nel settembre 1906 si trasferisce a Monaco insieme alla madre e al fratello e frequenta l’Accademia di Belle Arti. Nel marzo del 1910 si stabilisce a Firenze, sempre con la madre e il fratello Andrea. Ha la sua rivelazione metafisica in Piazza Santa Croce e realizza i suoi primi dipinti metafisici: L’énigme de l’oracle, L’énigme d’un après-midi d’automne e L’énigme de l’heure. Il 14 luglio 1911, insieme alla madre, raggiunge il fratello a Parigi. Qui svilupperà il tema delle piazze d’Italia, ispirato dall’architettura torinese e dagli insegnamenti della filosofia nietzschiana. Nel marzo 1913 espone tre dipinti al Salon des Indépendants; in questa occasione è notato da Picasso e Apollinaire. Con quest’ultimo inizia una collaborazione e un’amicizia che durerà nel tempo. Nel 1914, grazie all’interessamento di Apollinaire, conosce il suo primo mercante, Paul Guillaume. Nel 1915 inizia il ciclo di opere caratterizzato dalla presenza di “manichini”. Nel maggio dello stesso anno si presenta alle autorità militari di Firenze e viene trasferito a Ferrara. Qui comincia a dipingere i primi interni metafisici. Tra il 1917 e il 1918 realizza anche le sue opere più note: Il grande metafisico, Ettore e Andromaca, Il Trovatore e Le muse inquietanti (1918). Continua ad avere contatti con l’ambiente parigino e a inviare le proprie opere a Paul Guillaume. Il primo gennaio 1919 si trasferisce a Roma. A febbraio ha luogo la sua prima mostra personale alla Casa d’Arte Bragaglia. Nella città eterna riscopre l’arte dei grandi artisti nei musei e inizia a fare copie delle opere dei maestri italiani del Rinascimento, tra cui Raffaello e Michelangelo. Nel 1924, sempre a Roma, conosce la sua prima moglie, Raissa Gourevitch Krol. Alla fine del 1925 si stabilisce nuovamente a Parigi. I soggetti dei suoi dipinti sono gli archeologi, i cavalli in riva al mare, i trofei, i paesaggi nella stanza, i mobili nella valle e i gladiatori. I surrealisti criticano duramente le sue opere più recenti. La frattura con il gruppo è ormai totale e destinata ad aggravarsi negli anni successivi. Nel 1929 l’Éditions du Carrefour di Pierre Lévy pubblica Hebdomeros, le peintre et son génie chez l’écrivain. Nel 1930 il matrimonio con Raissa volge al termine. Nel medesimo anno incontra la sua seconda moglie, Isabella Pakszwer Far, che gli resterà accanto fino alla morte. Nell’agosto del 1936 parte per New York, per tornare in Italia all’inizio di gennaio del 1938. Negli anni Quaranta inizia a lavorare a una serie di sculture in terracotta e nel 1941 illustra L’Apocalisse. Nel 1948 la Biennale di Venezia organizza un’esposizione sulla pittura metafisica nella quale viene premiato Giorgio Morandi e dove, tra le opere esposte, figura anche “un formidabile falso” di de Chirico. Nello stesso anno, dopo una vita di spostamenti, l’artista si stabilisce definitivamente a Roma, al n. 31 di Piazza di Spagna, ove vivrà e lavorerà gli ultimi trent’anni della sua vita nell’appartamento-studio a tre piani, oggi visitabile come Casa-museo. Nel 1950, in polemica con la precedente Biennale, organizza, nella sede della Società Canottieri Bucintoro di Venezia, una “Anti-biennale”. Nel 1952 sposa Isabella. Il 5 maggio dello stesso anno muore suo fratello, Alberto Savinio. A partire dalla fine degli anni Sessanta inizia un nuovo periodo di ricerca, conosciuto come Neometafisica, durante il quale dipinge opere sulla meditazione e la rielaborazione di soggetti della sua pittura e arte grafica degli anni Dieci, Venti e Trenta. Soggetti come il Manichino, il Trovatore, gli Archeologi, i Gladiatori, i Bagni Misteriosi e il Sole sul cavalletto sono reinterpretati sotto una nuova luce, con colori accesi e atmosfere più serene rispetto a quelle severe e cupe, pervase da una strana sensazione d’inquietudine, della prima Metafisica. Nel 1973 realizza la"/>
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                <ITEXT CH="Fontana dei Bagni Misteriosi, in occasione della XV Triennale di Milano, nel parco Sempione."/>
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                <ITEXT CH="Nel novembre del 1974 viene insignito del titolo di Accademico di Francia. Il 20 novembre 1978 Giorgio de Chirico si spegne a Roma, all’età di novant’anni, e dal 1992 le sue spoglie riposano presso la chiesa di San Francesco a Ripa in Trastevere."/>
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                <ITEXT CH="Giorgio de Chirico was born to Italian nationals in Volos, Greece, on 10 July 1888. From 1903 to 1906, he attended the National Technical University of Athens. In September 1906, he relocated to Munich with his mother and brother, where he attended the Fine Arts Academy. In March of 1910, he settled in Florence, again with his mother and his brother Andrea. He had his metaphysical revelation in Piazza Santa Croce and did his first metaphysical paintings: L’énigme de l’oracle, L’énigme d’un après-midi d’automne, and L’énigme de l’heure. On 14 July 1911, with his mother, he joined his brother in Paris. Here, he would develop the theme of the Town Squares of Italy, inspired by Turinese architecture and by the teachings of Nietzschean philosophy. In March 1913, he showed three paintings at the Salon des Indépendants; on that occasion, he gained the notice of Picasso and Apollinaire, and with the latter he began what would be a long-lived friendship and collaboration. In 1914, through Apollinaire’s intervention, he met his first art dealer, Paul Guillaume. In 1915, he began the cycle of works marked by the presence of “mannequins.” In May of that same year, he appeared before the military authorities in Florence and was transferred to Ferrara. Here, he began to paint the first metaphysical interiors. Between 1917 and 1918, he did his most well-known works: The Great Metaphysician, Ettore e Andromaca (“Hector and Andromache”), Il Trovatore (“The Troubadour”) and The Disquieting Muses (1918). He continued to maintain contacts with the Parisian environment and to send his works to Paul Guillaume. On 1 January 1919, he relocated to Rome, and in February he had his first solo exhibition at Casa d’Arte Bragaglia. In the Eternal City’s museums, he rediscovered the works by the great artists and began making copies of pieces by the Italian Renaissance masters, including Raphael and Michelangelo. In 1924, still in Rome, he met his first wife, Raissa Gourevitch Krol. In late 1925, he resettled in Paris. The subjects of his paintings were archaeologists, horses on the seashore, trophies, landscapes in the room, furniture in the valley, and gladiators. The Surrealists harshly criticized his more recent works; his break with the group was now total and would worsen in the years thereafter. In 1929, Pierre Lévy’s Éditions du Carrefour published Hebdomeros, le peintre et son génie chez l’écrivain. In 1930, his marriage with Raissa was ending; that same year, he met his second wife, Isabella Pakszwer Far, who would remain by his side until his death. In August of 1936, he departed for New York, returning to Italy in early January of 1938. In the 1940s, he began working on a series of terracotta sculptures, and illustrated L’Apocalisse in 1941. In 1948, the Venice Biennale organized an exhibition on metaphysical painting, where Giorgio Morandi was honoured and the featured works also included a “formidable forgery” of de Chirico. That same year, after a life of relocations, the artist settled for good in Rome, at Piazza di Spagna 31, where he spent the last 30 years of his life living and working in the three-storey flat/studio that may now be visited as a House Museum. In 1950, quarrelling with the previous Biennale, he organized an “Anti-Biennale” at the headquarters of Società Canottieri Bucintoro in Venice. In 1952, he married Isabella. On 5 May that same year, his brother, Alberto Savinio, died. Starting in the late 1960s, he began a new period of exploration known as Neo-Metaphysics, during which he produced works on meditation and the re-elaboration of subjects of his painting and graphic art from the 1910s, 1920s, and 1930s. Subjects like the Mannequin, the Troubador, the Archaeologists, the Gladiators, the Mysterious Baths, and the Sun on the Easel were reinterpreted in a new light, with bright colours and atmospheres more serene than the severe and gloomy ones, pervaded by a strange sensation of disquiet, of the first Metaphysical period. In 1973, he did the Mysterious Baths Fountain on the occasion of the 15th Milan Triennial at Parco Sempione. In November of 1974 he was elected to the French Académie. On 20 November 1978, Giorgio de Chirico died in Rome at 90 years of age, and since 1992 his remains have lain at the church of San Francesco a Ripa in Trastevere."/>
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Pannelli 70x100 (1.6.3).sla (65,853 bytes)   
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Giorgio de Chirico ha coltivato un interesse profondo e costante per la scultura, una passione già evidente nei suoi primi dipinti metafisici, dove le statue assumono un ruolo centrale, conferendo alle composizioni un'aura enigmatica e sospesa. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Questa fascinazione non solo è rimasta viva nel corso del tempo, ma si è rinnovata con intensità fino alle sue ultime creazioni, testimoniando un dialogo continuo tra pittura e tridimensionalità."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Nel corso dei decenni, il suo rapporto con la scultura si è progressivamente evoluto, portandolo alla realizzazione di autentiche opere plastiche. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Questo percorso ha avuto il suo momento decisivo a partire dalla fine degli anni Trenta, per poi culminare nella straordinaria produzione degli anni Sessanta e Settanta, periodo in cui ha dato vita a una serie di sculture di grande importanza."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Pur dedicandosi con crescente impegno alla scultura, il legame di de Chirico con la pittura ha trovato, quindi, una nuova espressione nella dimensione tridimensionale. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Le sue sculture sembrano, infatti, dare corpo ai protagonisti dei suoi dipinti, come gli Archeologi/Oreste e Pilade, le Muse inquietanti, fino ai cavalli, ai cavalieri e ai palafrenieri. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="De Chirico sosteneva che lo scultore non fosse vincolato alla necessità di compensare il vuoto della linea, ma che fosse chiamato a un’operazione quasi mistica di ricerca e rivelazione. Egli paragonava il proprio lavoro a quello di un rabdomante, capace di individuare e liberare le forme imprigionate nella materia grezza, sia essa creta o marmo. La scultura, per lui, non era semplicemente un atto tecnico, ma una pratica di scoperta, in cui l’artista, con un approccio vicino a quello michelangiolesco, estrae la forma ideale dal blocco inerte, donandole una nuova vita. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="In questo processo, l’opera si colloca in un territorio sospeso tra il mondo fisico e quello metafisico, trasportando l’osservatore in una dimensione oltre il visibile, in cui il mistero e la poesia della forma si rivelano nella loro essenza. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en_GB" CH="Giorgio de Chirico cultivated a profound and constant interest in sculpture, a passion already evident in his first metaphysical paintings, where statues take on a central role, giving the compositions an enigmatic and suspended aura. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en_GB" CH="This fascination not only remained alive over the course of time, but was renewed with intensity until his final creations, bearing witness to an ongoing dialogue between painting and three-dimensionality."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en_GB" CH="Over the decades, his relationship with sculpture progressively evolved, leading him to produce authentic plastic works. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en_GB" CH="This path had its decisive moment starting from the late 1930s, culminating in the extraordinary production of the 1960s and 1970s, a period that saw him create a series of highly important sculptures."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en_GB" CH="Although dedicating himself with growing commitment to sculpture, de Chirico’s bond with painting therefore found a new expression in three dimensions. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en_GB" CH="His sculptures in fact appear to flesh out the figures in his paintings, like the Archaeologists/Orestes and Pylades, the unsettling Muses, and even the horses, the knights, and the grooms. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en_GB" CH="De Chirico maintained that the sculptor was not bound to the need to compensate the void of the line, but was called upon for an almost mystical operation of exploration and revelation. He compared his own work to that of a diviner, capable of identifying and freeing the forms imprisoned in the raw material, be it clay or marble. For him, sculpture was not simply a technical act, but a practice of discovery in which the artist, with an approach close to the style of Michelangelo, extracts the ideal shape from the inert block, endowing it with new life. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en_GB" CH="In this process, the work is placed in a territory suspended between the physical and the metaphysical world, transporting the viewer into a dimension beyond the visible, in which the mystery and poetry of form are revealed in their very essence."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Le litografie esposte in mostra nascono dalla collaborazione tra Giorgio de Chirico e il maestro stampatore Alberto Caprini, collaborazione da cui è nato un "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH=" grafico straordinario, espressione della piena maturità creativa del periodo neometafisico. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Grazie a questo sodalizio, de Chirico ha potuto esplorare con libertà il passaggio dal disegno alla stampa, rielaborando con rigore e finezza le sue iconografie più celebri. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="In questi fogli de Chirico sintetizza, dunque, una vera e propria "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH=" della sua opera, complessa, polimorfica e, allo stesso tempo, coerente: dalle Piazze d’Italia agli Interni metafisici, dai manichini dei Trovatori e di Ettore e Andromaca ai Gladiatori, agli Archeologi e ai Trofei, dal Figliol Prodigo ai cavalli, ai Bagni Misteriosi e agli autoritratti. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Con la libertà del maestro che ormai può giocare al grande gioco dell’arte, de Chirico mescola le varianti stilistiche dei suoi diversi periodi e le rimescola in un sapiente e coerente insieme di accostamenti e di variazioni, dove una visione più “classica” si alterna a certe deformazioni espressive tipiche delle opere degli anni Venti a Parigi, riprese proprio nel periodo neometafisico. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Nelle sale di questo ideale museo privato de Chirico rianima le sue creazioni: il Vaticinatore diventa un Architetto metafisico, il Figliol Prodigo ritrova suo padre trasformato in un Archeologo, i Trovatori sono eletti in cielo tra le squadre geometriche e le nuvole, appaiono sulle spiagge o nelle stanze misteriose, il guanto enigmatico della rivelazione indica ancora la scacchiera sul pavimento, Arianna immobile accompagna il gioco della bambina nel mistero e nella malinconia del carrozzone dello sgombero. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="In queste litografie il maestro ricompone la propria storia artistica, sospeso tra ripetizione e reinvenzione: il tramonto dei soli neri, i fulmini tramutati in arcobaleni e gli archeologi immobili davanti alla luce dorata simboleggiano la rinnovata vitalità della stagione neometafisica, in cui passato e presente si intrecciano in un’eterna metamorfosi dell’arte. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" CH="The lithographs on display in the exhibition arise from the collaboration between Giorgio de Chirico and the master printer Alberto Caprini – a collaboration that gave rise to an extraordinary graphic "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" CH=", an expression of the full creative maturity of the Neo-Metaphysical period. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" CH="This partnership afforded de Chirico the freedom to explore the passage from drawing to printing while re-elaborating his most famous iconographies with rigour and refinement. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" CH="Thus, in these folios, de Chirico provides an authentic "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" CH=" of his complex, polymorphic yet consistent work: from the Piazzas of Italy to Metaphysical Interiors; from the mannequins of the Troubadors and of Hector and Andromache to Gladiators, Archaeologists and Trophies; from the Prodigal Son to horses, Mysterious Baths, and self-portraits. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" CH="With the freedom of the master now able to play at the great game of art, de Chirico mixes the stylistic disparities of his different periods and blends them into a shrewd and coherent set of juxtapositions and variants, in which a more “classical” vision alternates with certain expressive deformations typical of the works in Paris in the 1920s, resumed precisely in the Neo-Metaphysical period. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" CH="In the rooms of this ideal private museum, de Chirico brings new life to his creations: the Soothsayer becomes a metaphysical Architect, the Prodigal Son finds his father transformed into an Archaeologist, the Troubadors are elected in heaven among the set squares and clouds; they appear on the beaches or in the mysterious rooms. The enigmatic glove of the revelation still indicates the chessboard on the floor; an immobile Ariadne accompanies the girl’s play in the mystery and melancholy of the moving van. "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Giorgio de Chirico nasce a Volos, in Grecia, il 10 luglio 1888 da genitori di cittadinanza italiana. Dal 1903 al 1906 frequenta il Politecnico di Atene. Nel settembre 1906 si trasferisce a Monaco insieme alla madre e al fratello e frequenta l’Accademia di Belle Arti. Nel marzo del 1910 si stabilisce a Firenze, sempre"/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="con la madre e il fratello Andrea. Ha la sua rivelazione metafisica in Piazza Santa Croce e realizza i suoi primi dipinti metafisici: "/>
                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" CH="L’énigme de l’oracle"/>
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                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" CH="L’énigme d’un après-midi d’automne "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="e"/>
                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" FCOLOR="FromOdt#0070c0" CH=" "/>
                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" CH="L’énigme de l’heure"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH=". Il 14 luglio 1911, insieme alla madre, raggiunge il fratello a Parigi. Qui svilupperà il tema delle piazze d’Italia, ispirato dall’architettura torinese e dagli insegnamenti della filosofia nietzschiana. Nel marzo 1913 espone tre dipinti al Salon des Indépendants; in questa occasione è notato da Picasso e Apollinaire. Con quest’ultimo inizia una collaborazione e un’amicizia che durerà nel tempo. Nel 1914, grazie all’interessamento di Apollinaire, conosce il suo primo mercante, Paul Guillaume. Nel 1915 inizia il ciclo di opere caratterizzato dalla presenza di “manichini”. Nel maggio dello stesso anno si presenta alle autorità militari di Firenze e viene trasferito a Ferrara. Qui comincia a dipingere i primi interni metafisici."/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="FromOdt#0070c0" CH=" "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Tra il 1917 e il 1918 realizza anche le sue opere più note: "/>
                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" CH="Il grande metafisico"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH=", "/>
                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" CH="Ettore e Andromaca"/>
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                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" CH="Il Trovatore"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH=" e "/>
                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" CH="Le muse inquietanti "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="(1918). Continua ad avere contatti con l’ambiente parigino e a inviare le proprie opere a Paul Guillaume. Il primo gennaio 1919 si trasferisce a Roma. A febbraio ha luogo la sua prima mostra personale alla Casa d’Arte Bragaglia."/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="FromOdt#0070c0" CH=" "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Nella città eterna riscopre l’arte dei grandi artisti nei musei e inizia a fare copie delle opere dei maestri italiani del Rinascimento, tra cui Raffaello e Michelangelo. Nel 1924, sempre a Roma, conosce la sua prima moglie, Raissa Gourevitch Krol."/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="FromOdt#0070c0" CH=" "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Alla fine del 1925 si stabilisce nuovamente a Parigi. I soggetti dei suoi dipinti sono gli archeologi, i cavalli in riva al mare, i trofei, i paesaggi nella stanza, i mobili nella valle e i gladiatori."/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="FromOdt#0070c0" CH=" "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="I surrealisti criticano duramente le sue opere"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="FromOdt#ff0000" CH=" "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="più recenti. La frattura con il gruppo è ormai totale e destinata ad aggravarsi negli anni successivi. "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" LANGUAGE="fr" CH="Nel 1929 l’Éditions du Carrefour di Pierre Lévy pubblica "/>
                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" LANGUAGE="fr" CH="Hebdomeros, le peintre et son génie chez l’écrivain"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" LANGUAGE="fr" CH=". "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Nel 1930 il matrimonio con Raissa volge al termine. Nel medesimo anno incontra la sua seconda moglie, Isabella Pakszwer Far, che gli resterà accanto fino alla morte. Nell’agosto del 1936 parte per New York, per tornare in Italia all’inizio di gennaio del"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="FromOdt#ff0000" CH=" "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="1938. Negli anni Quaranta inizia a lavorare a una serie di sculture in terracotta e nel 1941 illustra "/>
                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" CH="L’Apocalisse"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="."/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="FromOdt#0070c0" CH=" "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Nel 1948 la Biennale di Venezia organizza un’esposizione sulla pittura metafisica nella quale viene premiato Giorgio Morandi e dove, tra le opere esposte, figura anche “un formidabile falso” di de Chirico. Nello stesso anno, dopo una vita di spostamenti, l’artista si stabilisce definitivamente a Roma, al n. 31 di Piazza di Spagna, ove vivrà e lavorerà gli ultimi trent’anni della sua vita nell’appartamento-studio a tre piani, oggi visitabile come Casa-museo. Nel 1950, in polemica con la precedente Biennale, organizza, nella sede della Società Canottieri Bucintoro di Venezia, una “Anti-biennale”. Nel 1952 sposa Isabella. Il 5 maggio dello stesso anno muore suo fratello, Alberto Savinio. A partire dalla fine degli anni Sessanta inizia un nuovo periodo di ricerca, conosciuto come Neometafisica, durante il quale dipinge opere sulla meditazione e la rielaborazione di soggetti della sua pittura e arte grafica degli anni Dieci, Venti e Trenta. Soggetti come il Manichino, il Trovatore, gli Archeologi, i Gladiatori, i Bagni Misteriosi e il Sole sul cavalletto sono reinterpretati sotto una nuova luce, con colori accesi e atmosfere più serene rispetto a quelle severe e cupe, pervase da una strana sensazione d’inquietudine, della prima Metafisica. Nel 1973 realizza la"/>
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                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" CH="Fontana dei Bagni Misteriosi"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH=", in occasione della XV Triennale di Milano, nel parco Sempione."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" CH="Nel novembre del 1974 viene insignito del titolo di Accademico di Francia. Il 20 novembre 1978 Giorgio de Chirico si spegne a Roma, all’età di novant’anni, e dal 1992 le sue spoglie riposano presso la chiesa di San Francesco a Ripa in Trastevere."/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH="Giorgio de Chirico was born to Italian nationals in Volos, Greece, on 10 July 1888. From 1903 to 1906, he attended the National Technical University of Athens. In September 1906, he relocated to Munich with his mother and brother, where he attended the Fine Arts Academy. In March of 1910, he settled in Florence, again with his mother and his brother Andrea. He had his metaphysical revelation in Piazza Santa Croce and did his first metaphysical paintings: "/>
                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH="L’énigme de l’oracle"/>
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                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH="L’énigme d’un après-midi d’automne"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH=", and "/>
                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH="L’énigme de l’heure"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH=". On 14 July 1911, with his mother, he joined his brother in Paris. Here, he would develop the theme of the Town Squares of Italy, inspired by Turinese architecture and by the teachings of Nietzschean philosophy. In March 1913, he showed three paintings at the Salon des Indépendants; on that occasion, he gained the notice of Picasso and Apollinaire, and with the latter he began what would be a long-lived friendship and collaboration. In 1914, through Apollinaire’s intervention, he met his first art dealer, Paul Guillaume. In 1915, he began the cycle of works marked by the presence of “mannequins.” In May of that same year, he appeared before the military authorities in Florence and was transferred to Ferrara. Here, he began to paint the first metaphysical interiors. Between 1917 and 1918, he did his most well-known works: "/>
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                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH="Ettore e Andromaca"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH=" (“Hector and Andromache”), "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH=" (“The Troubadour”) and "/>
                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH="The Disquieting Muses "/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH="(1918). He continued to maintain contacts with the Parisian environment and to send his works to Paul Guillaume. On 1 January 1919, he relocated to Rome, and in February he had his first solo exhibition at Casa d’Arte Bragaglia. In the Eternal City’s museums, he rediscovered the works by the great artists and began making copies of pieces by the Italian Renaissance masters, including Raphael and Michelangelo. In 1924, still in Rome, he met his first wife, Raissa Gourevitch Krol. In late 1925, he resettled in Paris. The subjects of his paintings were archaeologists, horses on the seashore, trophies, landscapes in the room, furniture in the valley, and gladiators. The Surrealists harshly criticized his more recent works; his break with the group was now total and would worsen in the years thereafter. In 1929, Pierre Lévy’s Éditions du Carrefour published "/>
                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH="Hebdomeros, le peintre et son génie chez l’écrivain"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH=". In 1930, his marriage with Raissa was ending; that same year, he met his second wife, Isabella Pakszwer Far, who would remain by his side until his death. In August of 1936, he departed for New York, returning to Italy in early January of 1938. In the 1940s, he began working on a series of terracotta sculptures, and illustrated "/>
                <ITEXT FONT="Avenir Next LT Pro Italic" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH="L’Apocalisse"/>
                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH=" in 1941. In 1948, the Venice Biennale organized an exhibition on metaphysical painting, where Giorgio Morandi was honoured and the featured works also included a “formidable forgery” of de Chirico. That same year, after a life of relocations, the artist settled for good in Rome, at Piazza di Spagna 31, where he spent the last 30 years of his life living and working in the three-storey flat/studio that may now be visited as a House Museum. In 1950, quarrelling with the previous Biennale, he organized an “Anti-Biennale” at the headquarters of Società Canottieri Bucintoro in Venice. In 1952, he married Isabella. On 5 May that same year, his brother, Alberto Savinio, died. Starting in the late 1960s, he began a new period of exploration known as Neo-Metaphysics, during which he produced works on meditation and the re-elaboration of subjects of his painting and graphic art from the 1910s, 1920s, and 1930s. Subjects like the Mannequin, the Troubador, the Archaeologists, the Gladiators, the Mysterious Baths, and the Sun on the Easel were reinterpreted in a new light, with bright colours and atmospheres more serene than the severe and gloomy ones, pervaded by a strange sensation of disquiet, of the first Metaphysical period. In 1973, he did the "/>
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                <ITEXT FONT="Avenir Next LT Pro Regular" FONTSIZE="34" FCOLOR="Grigio 80" FSHADE="100" LANGUAGE="en" CH="on the occasion of the 15th Milan Triennial at Parco Sempione. In November of 1974 he was elected to the French Académie. On 20 November 1978, Giorgio de Chirico died in Rome at 90 years of age, and since 1992 his remains have lain at the church of San Francesco a Ripa in Trastevere."/>
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        <PAGEOBJECT XPOS="779.130923102697" YPOS="8978.26330708661" OwnPage="3" ItemID="2129131946" PTYPE="6" WIDTH="8" HEIGHT="57.5535015915556" FRTYPE="3" CLIPEDIT="1" PWIDTH="0" PCOLOR="Grigio 80" PLINEART="1" ANNAME="Copia di Testo7+U0 (5)" path="M3.91837 49.2124 C1.79592 49.2124 0 51.0475 0 53.383 C0 55.7185 1.79592 57.5535 3.91837 57.5535 C6.20408 57.5535 8 55.7185 8 53.383 C8 51.0475 6.20408 49.2124 3.91837 49.2124 L3.91837 49.2124 Z M3.91837 0 C1.79592 0 0 1.83504 0 4.17054 C0 6.50605 1.79592 8.34109 3.91837 8.34109 C6.20408 8.34109 8 6.50605 8 4.17054 C8 1.83504 6.20408 0 3.91837 0 Z" copath="M3.91837 49.2124 C1.79592 49.2124 0 51.0475 0 53.383 C0 55.7185 1.79592 57.5535 3.91837 57.5535 C6.20408 57.5535 8 55.7185 8 53.383 C8 51.0475 6.20408 49.2124 3.91837 49.2124 L3.91837 49.2124 Z M3.91837 0 C1.79592 0 0 1.83504 0 4.17054 C0 6.50605 1.79592 8.34109 3.91837 8.34109 C6.20408 8.34109 8 6.50605 8 4.17054 C8 1.83504 6.20408 0 3.91837 0 Z" gXpos="779.130923102697" gYpos="261.727874015748" gWidth="0" gHeight="0" LAYER="1"/>
    </DOCUMENT>
</SCRIBUSUTF8NEW>
Pannelli 70x100 (1.6.3).sla (65,853 bytes)   

guiodic

2025-03-24 15:59

reporter   ~0052315

Yes, when I open the file 'Pannelli 70x100 (1.7.1_26809).sla' I do not see the text, whereas I see it in 'Pannelli 70x100 (1.6.3).sla'.

Are these changes really necessary or do you think it is possible to roll back?
If not, could we at least have a filter that converts the file from the old format?

Thank you very much!

nitramr

2025-03-24 16:32

developer   ~0052316

I found the cause. The change was made in r26806.

The problem lies in the character style reading function. There's a new filter that checks for a parent attribute (CPARENT) to detect the old file structure. However, not all formats have this attribute. Therefore, all paragraph and character styles in the old format without a parent attribute don't read the properties correctly.

I fixed the problem by using a new identifier (CNAME and NAME), since all formats have a name.

>> Are these changes really necessary or do you think it is possible to roll back?
Necessary? No, but it is better to use a consistent name style and now some attributes are more descriptive, which helps people to understand the file better.

>> If not, could we at least have a filter that converts the file from the old format?
Yes, you can save the file in the 1.5.0 format. Please note that the Scribus 1.7.x series is experimental, and the file structure may change during development. No backward compatibility implementations are made for file changes within the 1.7.x series.
file170_2025-03-24_01.patch (942 bytes)   
Index: scribus/plugins/fileloader/scribus170format/scribus170format.cpp
===================================================================
--- scribus/plugins/fileloader/scribus170format/scribus170format.cpp	(Revision 26809)
+++ scribus/plugins/fileloader/scribus170format/scribus170format.cpp	(Arbeitskopie)
@@ -2878,9 +2878,11 @@
 void Scribus170Format::readCharacterStyleAttrs(ScribusDoc *doc, const ScXmlStreamAttributes& attrs, CharStyle & newStyle) const
 {
 	//Remove uppercase in 1.8 format
-	static const QString CPARENT("CPARENT");
-	if (attrs.hasAttribute(CPARENT))
+	static const QString CNAME("CNAME"); //identifier for character style < 1.7.1
+	static const QString NAME("NAME"); //identifier for paragraph style < 1.7.1
+	if (attrs.hasAttribute(CNAME) || attrs.hasAttribute(NAME))
 	{
+		static const QString CPARENT("CPARENT");
 		if (attrs.hasAttribute(CPARENT))
 		{
 			QString parentStyle = attrs.valueAsString(CPARENT);
file170_2025-03-24_01.patch (942 bytes)   

guiodic

2025-03-24 16:38

reporter   ~0052317

>> Yes, you can save the file in the 1.5.0 format.

If you open the file with Scribus 26809 and save it in 1.5/1.6 format, then opening it still does not display the characters.

guiodic

2025-03-24 17:42

reporter   ~0052318

I compiled 26809 with your patch. The situation improves, however despite this the colour is lost and in some cases the font size or attributes do not seem to be respected

nitramr

2025-03-24 18:15

developer   ~0052319

>> If you open the file with Scribus 26809 and save it in 1.5/1.6 format, then opening it still does not display the characters.
Yes, because your Scribus version is broken. It will work with Scribus 1.6.3.

>> however despite this the colour is lost and in some cases the font size or attributes do not seem to be respected
I will check again.

guiodic

2025-03-24 18:30

reporter   ~0052320

Thank you. For reference I attach the the pdf I exported before the change

nitramr

2025-03-24 19:09

developer   ~0052321

Next try. Seems like I just fixed it for character and paragraph styles and not for local changes of the text elements.

I removed the filter at all and just check each attribute individually. It should work now, at least I saw the grey text on right side and headline with font size 100pt.
file170_2025-03-24_02.patch (16,223 bytes)   
Index: scribus/plugins/fileloader/scribus170format/scribus170format.cpp
===================================================================
--- scribus/plugins/fileloader/scribus170format/scribus170format.cpp	(Revision 26809)
+++ scribus/plugins/fileloader/scribus170format/scribus170format.cpp	(Arbeitskopie)
@@ -2878,148 +2878,17 @@
 void Scribus170Format::readCharacterStyleAttrs(ScribusDoc *doc, const ScXmlStreamAttributes& attrs, CharStyle & newStyle) const
 {
 	//Remove uppercase in 1.8 format
+
 	static const QString CPARENT("CPARENT");
+	static const QString PARENT("Parent");
 	if (attrs.hasAttribute(CPARENT))
 	{
-		if (attrs.hasAttribute(CPARENT))
-		{
-			QString parentStyle = attrs.valueAsString(CPARENT);
-			if (!parentStyle.isEmpty())
-				parentStyle = charStyleMap.value(parentStyle, parentStyle);
-			newStyle.setParent(parentStyle);
-		}
-
-		static const QString FONT("FONT");
-		if (attrs.hasAttribute(FONT))
-		{
-			const ScFace& face = m_AvailableFonts->findFont(attrs.valueAsString(FONT), doc);
-			if (!face.isNone())
-				newStyle.setFont(face);
-		}
-
-		static const QString FONTSIZE("FONTSIZE");
-		if (attrs.hasAttribute(FONTSIZE))
-			newStyle.setFontSize(qRound(attrs.valueAsDouble(FONTSIZE) * 10));
-
-		static const QString FONTFEATURES("FONTFEATURES");
-		if (attrs.hasAttribute(FONTFEATURES))
-			newStyle.setFontFeatures(attrs.valueAsString(FONTFEATURES));
-
-		static const QString FCOLOR("FCOLOR");
-		if (attrs.hasAttribute(FCOLOR))
-			newStyle.setFillColor(attrs.valueAsString(FCOLOR));
-
-		static const QString HyphenChar("HyphenChar");
-		if (attrs.hasAttribute(HyphenChar))
-			newStyle.setHyphenChar(attrs.valueAsInt(HyphenChar));
-
-		static const QString HyphenWordMin("HyphenWordMin");
-		if (attrs.hasAttribute(HyphenWordMin))
-			newStyle.setHyphenWordMin(attrs.valueAsInt(HyphenWordMin));
-
-		static const QString KERN("KERN");
-		if (attrs.hasAttribute(KERN))
-			newStyle.setTracking(qRound(attrs.valueAsDouble(KERN) * 10));
-
-		static const QString FSHADE("FSHADE");
-		if (attrs.hasAttribute(FSHADE))
-			newStyle.setFillShade(attrs.valueAsInt(FSHADE));
-
-		static const QString EFFECTS("EFFECTS");
-		if (attrs.hasAttribute(EFFECTS))
-			newStyle.setFeatures(static_cast<StyleFlag>(attrs.valueAsInt(EFFECTS)).featureList());
-
-		static const QString EFFECT("EFFECT");
-		if (attrs.hasAttribute(EFFECT))
-			newStyle.setFeatures(static_cast<StyleFlag>(attrs.valueAsInt(EFFECT)).featureList());
-
-		static const QString FEATURES("FEATURES");
-		if (attrs.hasAttribute(FEATURES))
-			newStyle.setFeatures(attrs.valueAsString(FEATURES).split( " ", Qt::SkipEmptyParts));
-
-		static const QString SCOLOR("SCOLOR");
-		if (attrs.hasAttribute(SCOLOR))
-			newStyle.setStrokeColor(attrs.valueAsString(SCOLOR, CommonStrings::None));
-
-		static const QString BCOLOR("BGCOLOR");
-		if (attrs.hasAttribute(BCOLOR))
-			newStyle.setBackColor(attrs.valueAsString(BCOLOR, CommonStrings::None));
-		static const QString BSHADE("BGSHADE");
-		if (attrs.hasAttribute(BSHADE))
-			newStyle.setBackShade(attrs.valueAsInt(BSHADE, 100));
-
-		static const QString SSHADE("SSHADE");
-		if (attrs.hasAttribute(SSHADE))
-			newStyle.setStrokeShade(attrs.valueAsInt(SSHADE));
-
-		static const QString SCALEH("SCALEH");
-		if (attrs.hasAttribute(SCALEH))
-			newStyle.setScaleH(qRound(attrs.valueAsDouble(SCALEH) * 10));
-
-		static const QString SCALEV("SCALEV");
-		if (attrs.hasAttribute(SCALEV))
-			newStyle.setScaleV(qRound(attrs.valueAsDouble(SCALEV) * 10));
-
-		static const QString BASEO("BASEO");
-		if (attrs.hasAttribute(BASEO))
-			newStyle.setBaselineOffset(qRound(attrs.valueAsDouble(BASEO) * 10));
-
-		static const QString TXTSHX("TXTSHX");
-		if (attrs.hasAttribute(TXTSHX))
-			newStyle.setShadowXOffset(qRound(attrs.valueAsDouble(TXTSHX) * 10));
-
-		static const QString TXTSHY("TXTSHY");
-		if (attrs.hasAttribute(TXTSHY))
-			newStyle.setShadowYOffset(qRound(attrs.valueAsDouble(TXTSHY) * 10));
-
-		static const QString TXTOUT("TXTOUT");
-		if (attrs.hasAttribute(TXTOUT))
-			newStyle.setOutlineWidth(qRound(attrs.valueAsDouble(TXTOUT) * 10));
-
-		static const QString TXTULP("TXTULP");
-		if (attrs.hasAttribute(TXTULP))
-			newStyle.setUnderlineOffset(qRound(attrs.valueAsDouble(TXTULP) * 10));
-
-		static const QString TXTULW("TXTULW");
-		if (attrs.hasAttribute(TXTULW))
-			newStyle.setUnderlineWidth(qRound(attrs.valueAsDouble(TXTULW) * 10));
-
-		static const QString TXTSTP("TXTSTP");
-		if (attrs.hasAttribute(TXTSTP))
-			newStyle.setStrikethruOffset(qRound(attrs.valueAsDouble(TXTSTP) * 10));
-
-		static const QString TXTSTW("TXTSTW");
-		if (attrs.hasAttribute(TXTSTW))
-			newStyle.setStrikethruWidth(qRound(attrs.valueAsDouble(TXTSTW) * 10));
-
-		static const QString LANGUAGE("LANGUAGE");
-		if (attrs.hasAttribute(LANGUAGE))
-		{
-			QString l(attrs.valueAsString(LANGUAGE));
-			if (LanguageManager::instance()->langTableIndex(l) != -1)
-				newStyle.setLanguage(l); //new style storage
-			else
-			{ //old style storage
-				QString lnew = LanguageManager::instance()->getAbbrevFromLang(l, false);
-				if (lnew.isEmpty())
-					lnew = LanguageManager::instance()->getAbbrevFromLang(l, false);
-				newStyle.setLanguage(lnew);
-			}
-		}
-
-		static const QString SHORTCUT("SHORTCUT");
-		if (attrs.hasAttribute(SHORTCUT))
-			newStyle.setShortcut(attrs.valueAsString(SHORTCUT));
-
-		static const QString WORDTRACK("wordTrack");
-		if (attrs.hasAttribute(WORDTRACK))
-			newStyle.setWordTracking(attrs.valueAsDouble(WORDTRACK));
-
-		return;
+		QString parentStyle = attrs.valueAsString(CPARENT);
+		if (!parentStyle.isEmpty())
+			parentStyle = charStyleMap.value(parentStyle, parentStyle);
+		newStyle.setParent(parentStyle);
 	}
-
-	static const QString PARENT("Parent");
-	if (attrs.hasAttribute(PARENT))
+	else if (attrs.hasAttribute(PARENT))
 	{
 		QString parentStyle = attrs.valueAsString(PARENT);
 		if (!parentStyle.isEmpty())
@@ -3027,7 +2896,8 @@
 		newStyle.setParent(parentStyle);
 	}
 
-	static const QString FONT("Font");
+	static const QString FONT("FONT");
+	static const QString FONT171("Font");
 	if (attrs.hasAttribute(FONT))
 	{
 		const ScFace& face = m_AvailableFonts->findFont(attrs.valueAsString(FONT), doc);
@@ -3034,34 +2904,61 @@
 		if (!face.isNone())
 			newStyle.setFont(face);
 	}
+	else if (attrs.hasAttribute(FONT171))
+	{
+		const ScFace& face = m_AvailableFonts->findFont(attrs.valueAsString(FONT171), doc);
+		if (!face.isNone())
+			newStyle.setFont(face);
+	}
 
-	static const QString FONTSIZE("FontSize");
+	static const QString FONTSIZE("FONTSIZE");
+	static const QString FONTSIZE171("FontSize");
 	if (attrs.hasAttribute(FONTSIZE))
 		newStyle.setFontSize(qRound(attrs.valueAsDouble(FONTSIZE) * 10));
+	else if (attrs.hasAttribute(FONTSIZE171))
+		newStyle.setFontSize(qRound(attrs.valueAsDouble(FONTSIZE171) * 10));
 
-	static const QString FONTFEATURES("FontFeatures");
+	static const QString FONTFEATURES("FONTFEATURES");
+	static const QString FONTFEATURES171("FontFeatures");
 	if (attrs.hasAttribute(FONTFEATURES))
 		newStyle.setFontFeatures(attrs.valueAsString(FONTFEATURES));
+	else if (attrs.hasAttribute(FONTFEATURES171))
+		newStyle.setFontFeatures(attrs.valueAsString(FONTFEATURES171));
 
-	static const QString FCOLOR("FontColor");
+	static const QString FCOLOR("FCOLOR");
+	static const QString FCOLOR171("FontColor");
 	if (attrs.hasAttribute(FCOLOR))
 		newStyle.setFillColor(attrs.valueAsString(FCOLOR));
+	else if (attrs.hasAttribute(FCOLOR171))
+		newStyle.setFillColor(attrs.valueAsString(FCOLOR171));
 
-	static const QString HyphenChar("HyphenCharacter");
+	static const QString HyphenChar("HyphenChar");
+	static const QString HyphenChar171("HyphenCharacter");
 	if (attrs.hasAttribute(HyphenChar))
 		newStyle.setHyphenChar(attrs.valueAsInt(HyphenChar));
+	else if (attrs.hasAttribute(HyphenChar171))
+		newStyle.setHyphenChar(attrs.valueAsInt(HyphenChar171));
 
-	static const QString HyphenWordMin("HyphenWordMinimum");
+	static const QString HyphenWordMin("HyphenWordMin");
+	static const QString HyphenWordMin171("HyphenWordMinimum");
 	if (attrs.hasAttribute(HyphenWordMin))
 		newStyle.setHyphenWordMin(attrs.valueAsInt(HyphenWordMin));
+	else if (attrs.hasAttribute(HyphenWordMin171))
+		newStyle.setHyphenWordMin(attrs.valueAsInt(HyphenWordMin171));
 
-	static const QString KERN("Kerning");
+	static const QString KERN("KERN");
+	static const QString KERN171("Kerning");
 	if (attrs.hasAttribute(KERN))
 		newStyle.setTracking(qRound(attrs.valueAsDouble(KERN) * 10));
+	else if (attrs.hasAttribute(KERN171))
+		newStyle.setTracking(qRound(attrs.valueAsDouble(KERN171) * 10));
 
-	static const QString FSHADE("FillShade");
+	static const QString FSHADE("FSHADE");
+	static const QString FSHADE171("FillShade");
 	if (attrs.hasAttribute(FSHADE))
 		newStyle.setFillShade(attrs.valueAsInt(FSHADE));
+	else if (attrs.hasAttribute(FSHADE171))
+		newStyle.setFillShade(attrs.valueAsInt(FSHADE171));
 
 	static const QString EFFECTS("EFFECTS");
 	if (attrs.hasAttribute(EFFECTS))
@@ -3071,66 +2968,113 @@
 	if (attrs.hasAttribute(EFFECT))
 		newStyle.setFeatures(static_cast<StyleFlag>(attrs.valueAsInt(EFFECT)).featureList());
 
-	static const QString FEATURES("Features");
+	static const QString FEATURES("FEATURES");
+	static const QString FEATURES171("Features");
 	if (attrs.hasAttribute(FEATURES))
-		newStyle.setFeatures(attrs.valueAsString(FEATURES).split( " ", Qt::SkipEmptyParts));
+		newStyle.setFeatures(attrs.valueAsString(FEATURES).split(" ", Qt::SkipEmptyParts));
+	else if (attrs.hasAttribute(FEATURES171))
+		newStyle.setFeatures(attrs.valueAsString(FEATURES171).split(" ", Qt::SkipEmptyParts));
 
-	static const QString SCOLOR("StrokeColor");
+	static const QString SCOLOR("SCOLOR");
+	static const QString SCOLOR171("StrokeColor");
 	if (attrs.hasAttribute(SCOLOR))
 		newStyle.setStrokeColor(attrs.valueAsString(SCOLOR, CommonStrings::None));
+	else if (attrs.hasAttribute(SCOLOR171))
+		newStyle.setStrokeColor(attrs.valueAsString(SCOLOR171, CommonStrings::None));
 
-	static const QString BCOLOR("BackgroundColor");
+	static const QString BCOLOR("BGCOLOR");
+	static const QString BCOLOR171("BackgroundColor");
 	if (attrs.hasAttribute(BCOLOR))
 		newStyle.setBackColor(attrs.valueAsString(BCOLOR, CommonStrings::None));
-	static const QString BSHADE("BackgroundShade");
+	else if (attrs.hasAttribute(BCOLOR171))
+		newStyle.setBackColor(attrs.valueAsString(BCOLOR171, CommonStrings::None));
+
+	static const QString BSHADE("BGSHADE");
+	static const QString BSHADE171("BackgroundShade");
 	if (attrs.hasAttribute(BSHADE))
 		newStyle.setBackShade(attrs.valueAsInt(BSHADE, 100));
+	if (attrs.hasAttribute(BSHADE171))
+		newStyle.setBackShade(attrs.valueAsInt(BSHADE171, 100));
 
-	static const QString SSHADE("StrokeShade");
+	static const QString SSHADE("SSHADE");
+	static const QString SSHADE171("StrokeShade");
 	if (attrs.hasAttribute(SSHADE))
 		newStyle.setStrokeShade(attrs.valueAsInt(SSHADE));
+	else if (attrs.hasAttribute(SSHADE171))
+		newStyle.setStrokeShade(attrs.valueAsInt(SSHADE171));
 
-	static const QString SCALEH("ScaleHorizontal");
+	static const QString SCALEH("SCALEH");
+	static const QString SCALEH171("ScaleHorizontal");
 	if (attrs.hasAttribute(SCALEH))
 		newStyle.setScaleH(qRound(attrs.valueAsDouble(SCALEH) * 10));
+	else if (attrs.hasAttribute(SCALEH171))
+		newStyle.setScaleH(qRound(attrs.valueAsDouble(SCALEH171) * 10));
 
-	static const QString SCALEV("ScaleVertical");
+	static const QString SCALEV("SCALEV");
+	static const QString SCALEV171("ScaleVertical");
 	if (attrs.hasAttribute(SCALEV))
 		newStyle.setScaleV(qRound(attrs.valueAsDouble(SCALEV) * 10));
+	else if (attrs.hasAttribute(SCALEV171))
+		newStyle.setScaleV(qRound(attrs.valueAsDouble(SCALEV171) * 10));
 
-	static const QString BASEO("BaselineOffset");
+	static const QString BASEO("BASEO");
+	static const QString BASEO171("BaselineOffset");
 	if (attrs.hasAttribute(BASEO))
 		newStyle.setBaselineOffset(qRound(attrs.valueAsDouble(BASEO) * 10));
+	else if (attrs.hasAttribute(BASEO171))
+		newStyle.setBaselineOffset(qRound(attrs.valueAsDouble(BASEO171) * 10));
 
-	static const QString TXTSHX("TextShadowXOffset");
+	static const QString TXTSHX("TXTSHX");
+	static const QString TXTSHX171("TextShadowXOffset");
 	if (attrs.hasAttribute(TXTSHX))
 		newStyle.setShadowXOffset(qRound(attrs.valueAsDouble(TXTSHX) * 10));
+	else if (attrs.hasAttribute(TXTSHX171))
+		newStyle.setShadowXOffset(qRound(attrs.valueAsDouble(TXTSHX171) * 10));
 
-	static const QString TXTSHY("TextShadowYOffset");
+	static const QString TXTSHY("TXTSHY");
+	static const QString TXTSHY171("TextShadowYOffset");
 	if (attrs.hasAttribute(TXTSHY))
 		newStyle.setShadowYOffset(qRound(attrs.valueAsDouble(TXTSHY) * 10));
+	else if (attrs.hasAttribute(TXTSHY171))
+		newStyle.setShadowYOffset(qRound(attrs.valueAsDouble(TXTSHY171) * 10));
 
-	static const QString TXTOUT("TextOutlineWidth");
+	static const QString TXTOUT("TXTOUT");
+	static const QString TXTOUT171("TextOutlineWidth");
 	if (attrs.hasAttribute(TXTOUT))
 		newStyle.setOutlineWidth(qRound(attrs.valueAsDouble(TXTOUT) * 10));
+	else if (attrs.hasAttribute(TXTOUT171))
+		newStyle.setOutlineWidth(qRound(attrs.valueAsDouble(TXTOUT171) * 10));
 
-	static const QString TXTULP("TextUnderlineOffset");
+	static const QString TXTULP("TXTULP");
+	static const QString TXTULP171("TextUnderlineOffset");
 	if (attrs.hasAttribute(TXTULP))
 		newStyle.setUnderlineOffset(qRound(attrs.valueAsDouble(TXTULP) * 10));
+	else if (attrs.hasAttribute(TXTULP171))
+		newStyle.setUnderlineOffset(qRound(attrs.valueAsDouble(TXTULP171) * 10));
 
-	static const QString TXTULW("TextUnderlineWidth");
+	static const QString TXTULW("TXTULW");
+	static const QString TXTULW171("TextUnderlineWidth");
 	if (attrs.hasAttribute(TXTULW))
 		newStyle.setUnderlineWidth(qRound(attrs.valueAsDouble(TXTULW) * 10));
+	else if (attrs.hasAttribute(TXTULW171))
+		newStyle.setUnderlineWidth(qRound(attrs.valueAsDouble(TXTULW171) * 10));
 
-	static const QString TXTSTP("TextStrikeThroughOffset");
+	static const QString TXTSTP("TXTSTP");
+	static const QString TXTSTP171("TextStrikeThroughOffset");
 	if (attrs.hasAttribute(TXTSTP))
 		newStyle.setStrikethruOffset(qRound(attrs.valueAsDouble(TXTSTP) * 10));
+	else if (attrs.hasAttribute(TXTSTP171))
+		newStyle.setStrikethruOffset(qRound(attrs.valueAsDouble(TXTSTP171) * 10));
 
-	static const QString TXTSTW("TextStrikeThroughWidth");
+	static const QString TXTSTW("TXTSTW");
+	static const QString TXTSTW171("TextStrikeThroughWidth");
 	if (attrs.hasAttribute(TXTSTW))
 		newStyle.setStrikethruWidth(qRound(attrs.valueAsDouble(TXTSTW) * 10));
+	else if (attrs.hasAttribute(TXTSTW171))
+		newStyle.setStrikethruWidth(qRound(attrs.valueAsDouble(TXTSTW171) * 10));
 
-	static const QString LANGUAGE("Language");
+	static const QString LANGUAGE("LANGUAGE");
+	static const QString LANGUAGE171("Language");
 	if (attrs.hasAttribute(LANGUAGE))
 	{
 		QString l(attrs.valueAsString(LANGUAGE));
@@ -3144,17 +3088,30 @@
 			newStyle.setLanguage(lnew);
 		}
 	}
+	else if (attrs.hasAttribute(LANGUAGE171))
+	{
+		QString l(attrs.valueAsString(LANGUAGE171));
+		if (LanguageManager::instance()->langTableIndex(l) != -1)
+			newStyle.setLanguage(l); //new style storage
+		else
+		{ //old style storage
+			QString lnew = LanguageManager::instance()->getAbbrevFromLang(l, false);
+			if (lnew.isEmpty())
+				lnew = LanguageManager::instance()->getAbbrevFromLang(l, false);
+			newStyle.setLanguage(lnew);
+		}
+	}
 
-	static const QString SHORTCUT("Shortcut");
+	static const QString SHORTCUT("SHORTCUT");
+	static const QString SHORTCUT171("Shortcut");
 	if (attrs.hasAttribute(SHORTCUT))
 		newStyle.setShortcut(attrs.valueAsString(SHORTCUT));
+	else if (attrs.hasAttribute(SHORTCUT171))
+		newStyle.setShortcut(attrs.valueAsString(SHORTCUT171));
 
-	static const QString WORDTRACK("WordTrack");
+	static const QString WORDTRACK("wordTrack");
 	if (attrs.hasAttribute(WORDTRACK))
 		newStyle.setWordTracking(attrs.valueAsDouble(WORDTRACK));
-
-
-
 }
 
 void Scribus170Format::readNamedCharacterStyleAttrs(ScribusDoc *doc, const ScXmlStreamAttributes& attrs, CharStyle & newStyle) const
file170_2025-03-24_02.patch (16,223 bytes)   

nitramr

2025-03-24 19:13

developer   ~0052322

I saved your original file with the fixed version. The attached file should work in your current Scribus version (26809) too.
Pannelli 70x100_fixed.sla (68,111 bytes)   
<?xml version="1.0" encoding="UTF-8"?>
<SCRIBUSUTF8NEW Version="1.7.1.svn">
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Giorgio de Chirico ha coltivato un interesse profondo e costante per la scultura, una passione già evidente nei suoi primi dipinti metafisici, dove le statue assumono un ruolo centrale, conferendo alle composizioni un'aura enigmatica e sospesa. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Questa fascinazione non solo è rimasta viva nel corso del tempo, ma si è rinnovata con intensità fino alle sue ultime creazioni, testimoniando un dialogo continuo tra pittura e tridimensionalità."/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Nel corso dei decenni, il suo rapporto con la scultura si è progressivamente evoluto, portandolo alla realizzazione di autentiche opere plastiche. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Questo percorso ha avuto il suo momento decisivo a partire dalla fine degli anni Trenta, per poi culminare nella straordinaria produzione degli anni Sessanta e Settanta, periodo in cui ha dato vita a una serie di sculture di grande importanza."/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Pur dedicandosi con crescente impegno alla scultura, il legame di de Chirico con la pittura ha trovato, quindi, una nuova espressione nella dimensione tridimensionale. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Le sue sculture sembrano, infatti, dare corpo ai protagonisti dei suoi dipinti, come gli Archeologi/Oreste e Pilade, le Muse inquietanti, fino ai cavalli, ai cavalieri e ai palafrenieri. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="De Chirico sosteneva che lo scultore non fosse vincolato alla necessità di compensare il vuoto della linea, ma che fosse chiamato a un’operazione quasi mistica di ricerca e rivelazione. Egli paragonava il proprio lavoro a quello di un rabdomante, capace di individuare e liberare le forme imprigionate nella materia grezza, sia essa creta o marmo. La scultura, per lui, non era semplicemente un atto tecnico, ma una pratica di scoperta, in cui l’artista, con un approccio vicino a quello michelangiolesco, estrae la forma ideale dal blocco inerte, donandole una nuova vita. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="In questo processo, l’opera si colloca in un territorio sospeso tra il mondo fisico e quello metafisico, trasportando l’osservatore in una dimensione oltre il visibile, in cui il mistero e la poesia della forma si rivelano nella loro essenza. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en_GB" CH="Giorgio de Chirico cultivated a profound and constant interest in sculpture, a passion already evident in his first metaphysical paintings, where statues take on a central role, giving the compositions an enigmatic and suspended aura. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en_GB" CH="This fascination not only remained alive over the course of time, but was renewed with intensity until his final creations, bearing witness to an ongoing dialogue between painting and three-dimensionality."/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en_GB" CH="Over the decades, his relationship with sculpture progressively evolved, leading him to produce authentic plastic works. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en_GB" CH="This path had its decisive moment starting from the late 1930s, culminating in the extraordinary production of the 1960s and 1970s, a period that saw him create a series of highly important sculptures."/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en_GB" CH="Although dedicating himself with growing commitment to sculpture, de Chirico’s bond with painting therefore found a new expression in three dimensions. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en_GB" CH="His sculptures in fact appear to flesh out the figures in his paintings, like the Archaeologists/Orestes and Pylades, the unsettling Muses, and even the horses, the knights, and the grooms. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en_GB" CH="De Chirico maintained that the sculptor was not bound to the need to compensate the void of the line, but was called upon for an almost mystical operation of exploration and revelation. He compared his own work to that of a diviner, capable of identifying and freeing the forms imprisoned in the raw material, be it clay or marble. For him, sculpture was not simply a technical act, but a practice of discovery in which the artist, with an approach close to the style of Michelangelo, extracts the ideal shape from the inert block, endowing it with new life. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en_GB" CH="In this process, the work is placed in a territory suspended between the physical and the metaphysical world, transporting the viewer into a dimension beyond the visible, in which the mystery and poetry of form are revealed in their very essence."/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Le litografie esposte in mostra nascono dalla collaborazione tra Giorgio de Chirico e il maestro stampatore Alberto Caprini, collaborazione da cui è nato un "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH=" grafico straordinario, espressione della piena maturità creativa del periodo neometafisico. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Grazie a questo sodalizio, de Chirico ha potuto esplorare con libertà il passaggio dal disegno alla stampa, rielaborando con rigore e finezza le sue iconografie più celebri. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="In questi fogli de Chirico sintetizza, dunque, una vera e propria "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH=" della sua opera, complessa, polimorfica e, allo stesso tempo, coerente: dalle Piazze d’Italia agli Interni metafisici, dai manichini dei Trovatori e di Ettore e Andromaca ai Gladiatori, agli Archeologi e ai Trofei, dal Figliol Prodigo ai cavalli, ai Bagni Misteriosi e agli autoritratti. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Con la libertà del maestro che ormai può giocare al grande gioco dell’arte, de Chirico mescola le varianti stilistiche dei suoi diversi periodi e le rimescola in un sapiente e coerente insieme di accostamenti e di variazioni, dove una visione più “classica” si alterna a certe deformazioni espressive tipiche delle opere degli anni Venti a Parigi, riprese proprio nel periodo neometafisico. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Nelle sale di questo ideale museo privato de Chirico rianima le sue creazioni: il Vaticinatore diventa un Architetto metafisico, il Figliol Prodigo ritrova suo padre trasformato in un Archeologo, i Trovatori sono eletti in cielo tra le squadre geometriche e le nuvole, appaiono sulle spiagge o nelle stanze misteriose, il guanto enigmatico della rivelazione indica ancora la scacchiera sul pavimento, Arianna immobile accompagna il gioco della bambina nel mistero e nella malinconia del carrozzone dello sgombero. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="In queste litografie il maestro ricompone la propria storia artistica, sospeso tra ripetizione e reinvenzione: il tramonto dei soli neri, i fulmini tramutati in arcobaleni e gli archeologi immobili davanti alla luce dorata simboleggiano la rinnovata vitalità della stagione neometafisica, in cui passato e presente si intrecciano in un’eterna metamorfosi dell’arte. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" CH="The lithographs on display in the exhibition arise from the collaboration between Giorgio de Chirico and the master printer Alberto Caprini – a collaboration that gave rise to an extraordinary graphic "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" CH=", an expression of the full creative maturity of the Neo-Metaphysical period. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" CH="This partnership afforded de Chirico the freedom to explore the passage from drawing to printing while re-elaborating his most famous iconographies with rigour and refinement. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" CH="Thus, in these folios, de Chirico provides an authentic "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" CH=" of his complex, polymorphic yet consistent work: from the Piazzas of Italy to Metaphysical Interiors; from the mannequins of the Troubadors and of Hector and Andromache to Gladiators, Archaeologists and Trophies; from the Prodigal Son to horses, Mysterious Baths, and self-portraits. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" CH="With the freedom of the master now able to play at the great game of art, de Chirico mixes the stylistic disparities of his different periods and blends them into a shrewd and coherent set of juxtapositions and variants, in which a more “classical” vision alternates with certain expressive deformations typical of the works in Paris in the 1920s, resumed precisely in the Neo-Metaphysical period. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" CH="In the rooms of this ideal private museum, de Chirico brings new life to his creations: the Soothsayer becomes a metaphysical Architect, the Prodigal Son finds his father transformed into an Archaeologist, the Troubadors are elected in heaven among the set squares and clouds; they appear on the beaches or in the mysterious rooms. The enigmatic glove of the revelation still indicates the chessboard on the floor; an immobile Ariadne accompanies the girl’s play in the mystery and melancholy of the moving van. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Giorgio de Chirico nasce a Volos, in Grecia, il 10 luglio 1888 da genitori di cittadinanza italiana. Dal 1903 al 1906 frequenta il Politecnico di Atene. Nel settembre 1906 si trasferisce a Monaco insieme alla madre e al fratello e frequenta l’Accademia di Belle Arti. Nel marzo del 1910 si stabilisce a Firenze, sempre"/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="con la madre e il fratello Andrea. Ha la sua rivelazione metafisica in Piazza Santa Croce e realizza i suoi primi dipinti metafisici: "/>
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                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" CH="L’énigme d’un après-midi d’automne "/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="e"/>
                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" FontColor="FromOdt#0070c0" CH=" "/>
                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" CH="L’énigme de l’heure"/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH=". Il 14 luglio 1911, insieme alla madre, raggiunge il fratello a Parigi. Qui svilupperà il tema delle piazze d’Italia, ispirato dall’architettura torinese e dagli insegnamenti della filosofia nietzschiana. Nel marzo 1913 espone tre dipinti al Salon des Indépendants; in questa occasione è notato da Picasso e Apollinaire. Con quest’ultimo inizia una collaborazione e un’amicizia che durerà nel tempo. Nel 1914, grazie all’interessamento di Apollinaire, conosce il suo primo mercante, Paul Guillaume. Nel 1915 inizia il ciclo di opere caratterizzato dalla presenza di “manichini”. Nel maggio dello stesso anno si presenta alle autorità militari di Firenze e viene trasferito a Ferrara. Qui comincia a dipingere i primi interni metafisici."/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Tra il 1917 e il 1918 realizza anche le sue opere più note: "/>
                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" CH="Il grande metafisico"/>
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                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" CH="Ettore e Andromaca"/>
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                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" CH="Il Trovatore"/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH=" e "/>
                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" CH="Le muse inquietanti "/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="(1918). Continua ad avere contatti con l’ambiente parigino e a inviare le proprie opere a Paul Guillaume. Il primo gennaio 1919 si trasferisce a Roma. A febbraio ha luogo la sua prima mostra personale alla Casa d’Arte Bragaglia."/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Nella città eterna riscopre l’arte dei grandi artisti nei musei e inizia a fare copie delle opere dei maestri italiani del Rinascimento, tra cui Raffaello e Michelangelo. Nel 1924, sempre a Roma, conosce la sua prima moglie, Raissa Gourevitch Krol."/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="FromOdt#0070c0" CH=" "/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Alla fine del 1925 si stabilisce nuovamente a Parigi. I soggetti dei suoi dipinti sono gli archeologi, i cavalli in riva al mare, i trofei, i paesaggi nella stanza, i mobili nella valle e i gladiatori."/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="FromOdt#0070c0" CH=" "/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="I surrealisti criticano duramente le sue opere"/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="più recenti. La frattura con il gruppo è ormai totale e destinata ad aggravarsi negli anni successivi. "/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" Language="fr" CH="Nel 1929 l’Éditions du Carrefour di Pierre Lévy pubblica "/>
                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" Language="fr" CH="Hebdomeros, le peintre et son génie chez l’écrivain"/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" Language="fr" CH=". "/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Nel 1930 il matrimonio con Raissa volge al termine. Nel medesimo anno incontra la sua seconda moglie, Isabella Pakszwer Far, che gli resterà accanto fino alla morte. Nell’agosto del 1936 parte per New York, per tornare in Italia all’inizio di gennaio del"/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="1938. Negli anni Quaranta inizia a lavorare a una serie di sculture in terracotta e nel 1941 illustra "/>
                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" CH="L’Apocalisse"/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Nel 1948 la Biennale di Venezia organizza un’esposizione sulla pittura metafisica nella quale viene premiato Giorgio Morandi e dove, tra le opere esposte, figura anche “un formidabile falso” di de Chirico. Nello stesso anno, dopo una vita di spostamenti, l’artista si stabilisce definitivamente a Roma, al n. 31 di Piazza di Spagna, ove vivrà e lavorerà gli ultimi trent’anni della sua vita nell’appartamento-studio a tre piani, oggi visitabile come Casa-museo. Nel 1950, in polemica con la precedente Biennale, organizza, nella sede della Società Canottieri Bucintoro di Venezia, una “Anti-biennale”. Nel 1952 sposa Isabella. Il 5 maggio dello stesso anno muore suo fratello, Alberto Savinio. A partire dalla fine degli anni Sessanta inizia un nuovo periodo di ricerca, conosciuto come Neometafisica, durante il quale dipinge opere sulla meditazione e la rielaborazione di soggetti della sua pittura e arte grafica degli anni Dieci, Venti e Trenta. Soggetti come il Manichino, il Trovatore, gli Archeologi, i Gladiatori, i Bagni Misteriosi e il Sole sul cavalletto sono reinterpretati sotto una nuova luce, con colori accesi e atmosfere più serene rispetto a quelle severe e cupe, pervase da una strana sensazione d’inquietudine, della prima Metafisica. Nel 1973 realizza la"/>
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                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" CH="Fontana dei Bagni Misteriosi"/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH=", in occasione della XV Triennale di Milano, nel parco Sempione."/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Nel novembre del 1974 viene insignito del titolo di Accademico di Francia. Il 20 novembre 1978 Giorgio de Chirico si spegne a Roma, all’età di novant’anni, e dal 1992 le sue spoglie riposano presso la chiesa di San Francesco a Ripa in Trastevere."/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en" CH="Giorgio de Chirico was born to Italian nationals in Volos, Greece, on 10 July 1888. From 1903 to 1906, he attended the National Technical University of Athens. In September 1906, he relocated to Munich with his mother and brother, where he attended the Fine Arts Academy. In March of 1910, he settled in Florence, again with his mother and his brother Andrea. He had his metaphysical revelation in Piazza Santa Croce and did his first metaphysical paintings: "/>
                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en" CH="L’énigme de l’oracle"/>
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                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en" CH="L’énigme d’un après-midi d’automne"/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en" CH=", and "/>
                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en" CH="L’énigme de l’heure"/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en" CH=". On 14 July 1911, with his mother, he joined his brother in Paris. Here, he would develop the theme of the Town Squares of Italy, inspired by Turinese architecture and by the teachings of Nietzschean philosophy. In March 1913, he showed three paintings at the Salon des Indépendants; on that occasion, he gained the notice of Picasso and Apollinaire, and with the latter he began what would be a long-lived friendship and collaboration. In 1914, through Apollinaire’s intervention, he met his first art dealer, Paul Guillaume. In 1915, he began the cycle of works marked by the presence of “mannequins.” In May of that same year, he appeared before the military authorities in Florence and was transferred to Ferrara. Here, he began to paint the first metaphysical interiors. Between 1917 and 1918, he did his most well-known works: "/>
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                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en" CH="Ettore e Andromaca"/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en" CH=" (“Hector and Andromache”), "/>
                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en" CH="Il Trovatore"/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en" CH=" (“The Troubadour”) and "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en" CH="(1918). He continued to maintain contacts with the Parisian environment and to send his works to Paul Guillaume. On 1 January 1919, he relocated to Rome, and in February he had his first solo exhibition at Casa d’Arte Bragaglia. In the Eternal City’s museums, he rediscovered the works by the great artists and began making copies of pieces by the Italian Renaissance masters, including Raphael and Michelangelo. In 1924, still in Rome, he met his first wife, Raissa Gourevitch Krol. In late 1925, he resettled in Paris. The subjects of his paintings were archaeologists, horses on the seashore, trophies, landscapes in the room, furniture in the valley, and gladiators. The Surrealists harshly criticized his more recent works; his break with the group was now total and would worsen in the years thereafter. In 1929, Pierre Lévy’s Éditions du Carrefour published "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en" CH=". In 1930, his marriage with Raissa was ending; that same year, he met his second wife, Isabella Pakszwer Far, who would remain by his side until his death. In August of 1936, he departed for New York, returning to Italy in early January of 1938. In the 1940s, he began working on a series of terracotta sculptures, and illustrated "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en" CH=" in 1941. In 1948, the Venice Biennale organized an exhibition on metaphysical painting, where Giorgio Morandi was honoured and the featured works also included a “formidable forgery” of de Chirico. That same year, after a life of relocations, the artist settled for good in Rome, at Piazza di Spagna 31, where he spent the last 30 years of his life living and working in the three-storey flat/studio that may now be visited as a House Museum. In 1950, quarrelling with the previous Biennale, he organized an “Anti-Biennale” at the headquarters of Società Canottieri Bucintoro in Venice. In 1952, he married Isabella. On 5 May that same year, his brother, Alberto Savinio, died. Starting in the late 1960s, he began a new period of exploration known as Neo-Metaphysics, during which he produced works on meditation and the re-elaboration of subjects of his painting and graphic art from the 1910s, 1920s, and 1930s. Subjects like the Mannequin, the Troubador, the Archaeologists, the Gladiators, the Mysterious Baths, and the Sun on the Easel were reinterpreted in a new light, with bright colours and atmospheres more serene than the severe and gloomy ones, pervaded by a strange sensation of disquiet, of the first Metaphysical period. In 1973, he did the "/>
                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en" CH="Mysterious Baths Fountain "/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Language="en" CH="on the occasion of the 15th Milan Triennial at Parco Sempione. In November of 1974 he was elected to the French Académie. On 20 November 1978, Giorgio de Chirico died in Rome at 90 years of age, and since 1992 his remains have lain at the church of San Francesco a Ripa in Trastevere."/>
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Pannelli 70x100_fixed.sla (68,111 bytes)   

guiodic

2025-03-24 19:22

reporter   ~0052323

I will test the new patch, however I tried opening the file 'Panels 70x100_fixed.sla' with the version containing the old fix and with the version without the fix. In both cases the grey text was displayed but not the black text. In addition, the title was not displayed, even if it was grey.

guiodic

2025-03-24 19:24

reporter   ~0052324

to be clear, I should apply the second patch only (file170_2025-03-24_02.patch ), not the first one, am I right?

nitramr

2025-03-24 19:26

developer   ~0052325

yes, the first patch is obsolete.

guiodic

2025-03-24 19:59

reporter   ~0052326

Much better with the new patch! Thank you! But I noticed another problem. Layers seem to get lost or mixed up when importing. For example, this file (with vector lettering on the level "testo") had a brownish background which now when opened buys above the lettering, whereas before it was below ("sfondo" background level)

guiodic

2025-03-24 20:47

reporter   ~0052327

Sorry @cbradney but it's not fully fixed. See the last comment: https://bugs.scribus.net/view.php?id=17473#c52326

Also, I wish I had time to do some testing with various files, thank you!

nitramr

2025-03-24 20:52

developer   ~0052328

Last edited: 2025-03-24 20:53

Here the patch for the layer fix. There was an "else" missing.

Patch 3 expect that patch 2 is already applied.
file170_2025-03-24_03.patch (274 bytes)   
@@ -6132,7 +6093,7 @@
 		if (!found)
 			currItem->setLayer(doc->firstLayerID());
 	}
-	if (attrs.valueAsInt("Layer", 0) != -1)
+	else if (attrs.valueAsInt("Layer", 0) != -1)
 	{
 		currItem->setLayer(attrs.valueAsInt("Layer", 0));
 		uint layerCount = doc->Layers.count();
file170_2025-03-24_03.patch (274 bytes)   

cbradney

2025-03-24 20:56

administrator   ~0052329

Thanks, committed

cbradney

2025-03-24 21:00

administrator   ~0052330

r26811

@guiodic: Please use 1.7.0 if you are trying to do any real work with an unstable version of Scribus. or find a revision that works for you and stick with it. Appreciate the report though. Thanks!

guiodic

2025-03-24 21:26

reporter   ~0052331

@cbradney: I understand your reproach, but this bug does not simply affect the opening of a file made with an older 1.7.1-svn, but also with stable versions. So I guess it had to be solved anyway.
Thank you!

cbradney

2025-03-24 21:55

administrator   ~0052332

Yes... sure, but 1.7.1.svn is code that is changing quite a lot. We can introduce lots of changes that will break things or make the app not work for a day or two. We don't normally do that though.

I have split the file loaders now though, so there is a 1.7.0 loader and a 1.7.1.svn loader.

guiodic

2025-03-24 22:01

reporter   ~0052333

Very good, thank you!
I tested 26811 with a few files and it seems fine. thanks!

guiodic

2025-03-25 17:13

reporter   ~0052335

I'm very sorry to bother you again, but the problem seems to recur somewhat randomly. With 26811 I created the file "Panel 70x100_time" which I enclose, if I now open it some of the text disappears. If I try to make a change and then save it (see the other file tempo_2) I get an error when opening it.
Pannello 70x100_tempo.sla (32,756 bytes)   
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            <TableBorderRight>
                <TableBorderLine Width="1" PenStyle="1" Color="Black" Shade="100"/>
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                <TableBorderLine Width="1" PenStyle="1" Color="Black" Shade="100"/>
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            <TableBorderBottom>
                <TableBorderLine Width="1" PenStyle="1" Color="Black" Shade="100"/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="In mostra si trovano alcuni quadri firmati da Giorgio de Chirico che presentano una datazione diversa rispetto a quella in cui il dipinto è stato effettivamente realizzato."/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Questo succede, ad esempio, per opere come "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH=", firmato e datato 1950, ma in realtà dipinto nel 1970; "/>
                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" CH="Elettra consolatrice"/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH=", datato 1957, ma realizzato nel 1968; "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH=", datato 1948, ma risalente, in realtà, al 1974. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Questo aspetto, che potrebbe destare qualche perplessità nei visitatori, in realtà s’inquadra perfettamente nella visione di de Chirico, che non condivideva l’idea del tempo “progressivo”, propria della modernità e delle Avanguardie, arrivando a scrivere, in una lettera del 1916, a Guillaume Apollinaire: «L’Efesino ci insegna che il tempo non esiste e che sulla grande curva dell’eternità il passato è uguale all’avvenire»."/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" CH="Parole che richiamano evidentemente il concetto di “eterno ritorno” di Nietzsche, il filosofo che ha influenzato in modo decisivo la Metafisica dechirichiana. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Kerning="5" CH="The exhibition includes some paintings by Giorgio de Chirico that show dates different from those when the works were actually done."/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Kerning="5" CH="This is the case, for example, with works like "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Kerning="5" CH=", dated 1957 but done in 1968; and "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Kerning="5" CH=", dated 1948 but actually painted in 1974. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Kerning="5" CH="Although this aspect might raise some perplexity among visitors, it actually accords perfectly with de Chirico’s vision; the artist did not agree with the idea of “progressive” time – an idea adopted by modernity and the avant-gardes – and, in a 1916 letter to Guillaume Apollinaire, wrote: ““The Ephesian teaches us that time does not exist and that on the great curve of eternity the past is the same as the future.”"/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Kerning="5" CH="These words clearly allude to the “eternal return” as conceived by Nietzsche, the philosopher who decisively influenced de Chirico’s Metaphysics. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Grigio 80" FillShade="100" Kerning="5" CH="Moreover, De Chirico objected to assigning his paintings a value on the simplistic basis of their dating to different periods. Unsurprisingly, in a 1970 interview, he stated that “a painting isn’t a postage stamp, and giving it a value not for what it is worth spiritually and artistically but for the year it was made means giving it the value of a stamp.”"/>
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Pannello 70x100_tempo.sla (32,756 bytes)   
Pannello 70x100_tempo_2.sla (33,337 bytes)   
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Black" FillShade="100" CH="De Chirico, inoltre, contestava l’attribuzione, alle opere d’arte da lui realizzate, di un valore basato in modo semplicistico sulle datazioni dei diversi periodi della sua pittura. Non a caso, in un’intervista del 1970, egli dichiarò che: «il quadro non è un francobollo e che attribuirgli un valore non per ciò che spiritualmente e pittoricamente vale ma per l’anno in cui è stato fatto vuol dire dare al quadro un valore da francobollo. In questo caso consiglio coloro che la pensano così di darsi alla filatelia»."/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Black" FillShade="100" CH="De Chirico è sempre stato convinto dell’evoluzione tecnica del proprio lavoro e se rifece, ad esempio, un quadro del periodo metafisico giovanile, lo dipinse con la nuova qualità tecnica raggiunta, non imitando, come avrebbe potuto fare, lo stile degli anni precedenti; prendendosi gioco, in questo modo, di chi dava più valore alla data che alla qualità dell’opera, ma senza falsificare sé stesso. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Black" FillShade="100" Kerning="5" CH="The exhibition includes some paintings by Giorgio de Chirico that show dates different from those when the works were actually done."/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Black" FillShade="100" Kerning="5" CH="This is the case, for example, with works like "/>
                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" FontColor="Black" FillShade="100" Kerning="5" CH="The Astrologer"/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Black" FillShade="100" Kerning="5" CH=", signed and dated 1950, but actually painted in 1970; "/>
                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" FontColor="Black" FillShade="100" Kerning="5" CH="Electra the Consolatrix"/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Black" FillShade="100" Kerning="5" CH=", dated 1957 but done in 1968; and "/>
                <ITEXT Font="Avenir Next LT Pro Italic" FontSize="34" FontColor="Black" FillShade="100" Kerning="5" CH="Orestes and Electra"/>
                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Black" FillShade="100" Kerning="5" CH=", dated 1948 but actually painted in 1974. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Black" FillShade="100" Kerning="5" CH="Although this aspect might raise some perplexity among visitors, it actually accords perfectly with de Chirico’s vision; the artist did not agree with the idea of “progressive” time – an idea adopted by modernity and the avant-gardes – and, in a 1916 letter to Guillaume Apollinaire, wrote: ““The Ephesian teaches us that time does not exist and that on the great curve of eternity the past is the same as the future.”"/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Black" FillShade="100" Kerning="5" CH="These words clearly allude to the “eternal return” as conceived by Nietzsche, the philosopher who decisively influenced de Chirico’s Metaphysics. "/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Black" FillShade="100" Kerning="5" CH="Moreover, De Chirico objected to assigning his paintings a value on the simplistic basis of their dating to different periods. Unsurprisingly, in a 1970 interview, he stated that “a painting isn’t a postage stamp, and giving it a value not for what it is worth spiritually and artistically but for the year it was made means giving it the value of a stamp.”"/>
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                <ITEXT Font="Avenir Next LT Pro Regular" FontSize="34" FontColor="Black" FillShade="100" Kerning="5" CH="De Chirico was always convinced of the technical evolution of his own work, revisiting, for example, a piece from his youthful metaphysical period and painting it using the new technical quality he had attained – but without imitating, as he could have done, the style of years past. In this way, he poked fun at those who gave more value to the work’s date than to its quality, but without forging himself."/>
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Pannello 70x100_tempo_2.sla (33,337 bytes)   

guiodic

2025-03-25 17:15

reporter   ~0052336

p.s. the same error appears even if I save it without any changes

guiodic

2025-03-25 17:21

reporter   ~0052337

Also, if I save as Scribus 1.7.0, the file string version is still 1.7.1svn

cbradney

2025-03-26 20:27

administrator   ~0052344

I fixed the version issue for saving as 1.7.0

Issue History

Date Modified Username Field Change
2025-03-24 13:18 guiodic New Issue
2025-03-24 13:18 guiodic File Added: Pannelli 70x100.sla
2025-03-24 15:50 nitramr Note Added: 0052314
2025-03-24 15:50 nitramr File Added: Pannelli 70x100 (1.7.1_26809).sla
2025-03-24 15:50 nitramr File Added: Pannelli 70x100 (1.6.3).sla
2025-03-24 15:59 guiodic Note Added: 0052315
2025-03-24 16:32 nitramr Note Added: 0052316
2025-03-24 16:32 nitramr File Added: file170_2025-03-24_01.patch
2025-03-24 16:34 nitramr Assigned To => nitramr
2025-03-24 16:34 nitramr Status new => assigned
2025-03-24 16:34 nitramr Target Version => 1.7 milestone
2025-03-24 16:34 nitramr Patch No => Yes
2025-03-24 16:38 guiodic Note Added: 0052317
2025-03-24 17:42 guiodic Note Added: 0052318
2025-03-24 18:15 nitramr Note Added: 0052319
2025-03-24 18:30 guiodic Note Added: 0052320
2025-03-24 18:30 guiodic File Added: Pannelli 70x100_print_alvivo.pdf
2025-03-24 19:09 nitramr Note Added: 0052321
2025-03-24 19:09 nitramr File Added: file170_2025-03-24_02.patch
2025-03-24 19:13 nitramr Note Added: 0052322
2025-03-24 19:13 nitramr File Added: Pannelli 70x100_fixed.sla
2025-03-24 19:22 guiodic Note Added: 0052323
2025-03-24 19:22 guiodic File Added: Screenshot_2025-03-24_08.22.00.png
2025-03-24 19:24 guiodic Note Added: 0052324
2025-03-24 19:26 nitramr Note Added: 0052325
2025-03-24 19:59 guiodic Note Added: 0052326
2025-03-24 19:59 guiodic File Added: Didascalie_de_Chirico_file_di lavoro_GI.zip
2025-03-24 20:41 cbradney Status assigned => resolved
2025-03-24 20:41 cbradney Resolution open => fixed
2025-03-24 20:41 cbradney Fixed in Version => 1.7.1.svn
2025-03-24 20:47 guiodic Status resolved => feedback
2025-03-24 20:47 guiodic Resolution fixed => reopened
2025-03-24 20:47 guiodic Note Added: 0052327
2025-03-24 20:52 nitramr Note Added: 0052328
2025-03-24 20:52 nitramr File Added: file170_2025-03-24_03.patch
2025-03-24 20:53 nitramr Note Edited: 0052328
2025-03-24 20:56 cbradney Note Added: 0052329
2025-03-24 20:57 cbradney Status feedback => resolved
2025-03-24 21:00 cbradney Note Added: 0052330
2025-03-24 21:26 guiodic Note Added: 0052331
2025-03-24 21:55 cbradney Note Added: 0052332
2025-03-24 22:01 guiodic Note Added: 0052333
2025-03-25 17:13 guiodic Note Added: 0052335
2025-03-25 17:13 guiodic File Added: Pannello 70x100_tempo.sla
2025-03-25 17:13 guiodic File Added: Pannello 70x100_tempo_2.sla
2025-03-25 17:15 guiodic Note Added: 0052336
2025-03-25 17:15 guiodic File Added: Screenshot_2025-03-25_06.14.38.png
2025-03-25 17:21 guiodic Note Added: 0052337
2025-03-26 20:27 cbradney Note Added: 0052344