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“... his Duchess are rhymed with the distant rocks and water in the territories over which they rule. Roberto Longhi’s brilliant book on Piero della Francesca, first published in 1927, is perhaps the first and certainly the fullest account of the artist to emerge from the cult of Post-Impressionism. The book was soon translated and immediately became ...”

“... first attributed to Giorgione by the most influential Italian art historian of the last century, Roberto Longhi. In 1992 a letter about the picture Longhi wrote to the owner in 1944 was published in an exhibition catalogue. This was unexpected, because it had long been accepted that when art historians provided ...”

“... for her husband, Italy’s pre-eminent 20th-century critic, art historian and cultural arbiter, Roberto Longhi (1890-1970). It was Longhi who, among his many potent reassessments, launched the modern rediscovery of the Gentileschis, father and daughter, as important painters, in an article published in 1916. Banti ...”

“... at the insipid smile of that prim and sex-starved young woman’. Iconoclastic young critics like Roberto Longhi poured scorn on the painting, and even Bernard Berenson – though hardly daring to question ‘a shaman so potent’ as Pater – confessed to his covert dislike of this revered work: ‘she had simply become an incubus.’ When T. S. Eliot ...”

“... oils. This was believed well into the 19th century and the scene was even made into a painting by Roberto Venturi as late as 1870. But it’s clear that Bellini (and others) were adept at oil painting long before Antonello visited Venice. More recently, the art historian Roberto Longhi (1890-1970) viewed Antonello as ...”

“... John in the Cathedral of Valletta contains his last and greatest masterpiece), but it owed most to Roberto Longhi, the most influential Italian art historian and critic of the 20th century. Longhi provided a convincing account of the artist’s Lombard antecedents and his development as a painter, but, more ...”

“... Hegel, Heine, Baudelaire, Semper, Scott, Riegl, Feyerabend, Simone Weil and Adorno, ending with Roberto Longhi. In another, from Viktor Shklovsky through Tolstoy, Marcus Aurelius and popular riddles of Roman times, Antonio de Guevara and the transmission of medieval tales to the age of Charles V, Montaigne, La Bruyère, Madame de ...”

“... stature as a painter is only now being recognised’. Not until 1951, he notes elsewhere, did Roberto Longhi mount ‘the crucial show that brought Caravaggio out of three centuries of neglect and obloquy’. Vermeer ‘was forgotten after his death’. Guido Reni, by contrast, received two centuries’ worth of posthumous esteem only to be slapped ...”