Donna d'archivio. Camille Mallarmé e la critica d'arte

This essay examines Camille Mallarmé’s *L’ultima tragedia di Michelangelo* (1929), focusing on her reconstruction of the history of Michelangelo’s Bandini Pietà. Drawing on archival research, art-historical sources, and unpublished documents, Mallarmé combines scholarly investigation with narrative strategies, turning the “biography” of the artwork into a form of intellectual self-portraiture. The essay highlights how her attention to microhistory, material traces, and archival gaps reveals a distinctive critical method in which documentation, storytelling, memory, and self-writing converge.