Ginevra Odone
Aix-Marseille Université, ALLSH - Histoire de l'art, Faculty Member
- Università degli Studi "La Sapienza" di Roma, Lettere e Filosofia, Department MemberUniversité de Lorraine, History (Art), Department Memberadd
- History of Collections, Antiquarianism, History of Art, Art History, Storia Del Collezionismo, XVIII Secolo, and 22 moreEarly Christian Archaeology, Archeologia Cristiana, History of Antiquarianism, Collecting and Collections, Art Economics and Markets, XVIII century, Collection Development, Provenance research, Art Market, Collectors and Collecting, Art and Commerce, Patronage and collecting, History of Collecting, History of Collecting and Antiquarianism, History of Collecting and Art Markets, Ephemeral Apparatuses, Ephemeral architecture, Antiquarianism in the eighteenth century, Antiquaria e collezionismo, Collectionism, Eighteenth-Century French Studies, and Cultural Historyedit
- In December 2020, Ginevra Odone received her PhD (a double degree from Université de Lorraine and Sapienza Università... moreIn December 2020, Ginevra Odone received her PhD (a double degree from Université de Lorraine and Sapienza Università di Roma) in History of Art on the collection of the abbot and lawyer Agostino Mariotti (1724-1806) who lived in Rome in the middle of the 18th century. She deals with the history of collections, the display of art in private collections and the art market.
She has participated in various conferences, published several articles on the roman art market and antiquities and collaborated with various institutions in Paris and Rome (Musée du Louvre, Istituto Nazionale per la Grafica and Museo Napoleonico).
Since September 2019 she is assistant lecturer (ATER) in History of Modern Art at Aix-Marseille Université. From December 2018, she is also member of the Board of Directors of the Association des Historiens de l’Art Italien (AHAI) in Paris and from Mars 2021 she is co-convenor of the Italian Chapter of the Society for the History of Collecting based in London (https://societyhistorycollecting.org/).edit
L’avocat Agostino Mariotti (1724-1806) et son musée, « une des curiosités de Rome », thèse de doctorat en cotutelle (Université de Lorraine/Sapienza Università di Roma), soutenue publiquement le 16 décembre 2020, 2 voll., 752 p. [vol. I: résumé, remerciements, table des matières et index des noms]more
[FRA] L’abbé et avocat Agostino Mariotti (1724-1806) était bien connu dans la Rome du XVIIIe siècle. Comme la plupart des ecclésiastiques de son temps, il s’agissait d’abord d’un érudit : avocat de la Congrégation Sacrée des Rites,... more
[FRA]
L’abbé et avocat Agostino Mariotti (1724-1806) était bien connu dans la Rome du XVIIIe siècle. Comme la plupart des ecclésiastiques de son temps, il s’agissait d’abord d’un érudit : avocat de la Congrégation Sacrée des Rites, homme de lettres, fin connaisseur des langues latine et grecque, bibliophile, numismate, membre de l’Académie de l’Arcadie, mais aussi expert d’antiquités et grand collectionneur. En l’espace de plusieurs années il avait constitué une importante collection dont le noyau principal était formé par le musée Sacré. Avec celle-ci, particulièrement riche de peintures de toutes époques, Mariotti avait pour ambition de raconter aussi bien l’histoire de l’Église que la « Perfezione del disegno » en utilisant comme pivot l’oeuvre de Michel-Ange.
Ce travail de thèse vise d’abord à reconstruire la figure de l’avocat Mariotti et de sa collection, et de les mettre en perspective avec le contexte culturel de la ville de Rome au XVIIIe siècle. Les nouvelles sources retrouvées ont donc permis d’analyser la grande richesse de la collection, en complétant les informations disponibles sur cette figure aux multiples facettes, tombée presque entièrement dans l’oubli après sa mort, malgré les nombreuses oeuvres de son recueil ayant rejoint les collections papales et se trouvant encore aujourd’hui conservées et exposées aux musées du Vatican.
La première partie de la thèse reconstruit donc la biographie d’Agostino Mariotti, avec une attention particulière pour sa production littéraire et à ses relations avec les érudits italiens et étrangers de son temps. Son réseau est donc constitué principalement par des personnes avec lesquelles il partage ses lieux préférés de sociabilité, à savoir des religieux, des membres de l’Académie d’Arcadie, des artistes de l’Académie de Saint-Luc, ou encore des jésuites malgré le rôle joué par Agostino dans la suppression de l’Ordre.
La deuxième partie se focalise sur la reconstruction de l’ensemble de la collection de Mariotti, partagée entre un musée Sacré, un musée Profane et un musée d’histoire naturelle. Les vastes sources documentaires retrouvées sont présentées et analysées afin de redonner au lecteur une image inédite et relativement exhaustive de cette riche et variée collection et ce, au-delà des seules peintures d’artistes « primitifs » pour lesquelles Agostino était connu jusqu’à nos jours.
La dernière partie suit la dispersion des oeuvres après la dissolution de la collection à la mort de son créateur. Une attention particulière est donnée à celles qui ont été vendues au Vatican en 1820, transaction pour laquelle nous disposons d’un grand nombre de sources documentaires et qui ont permis de connaître les estimations données lors de la vente. Une recherche complémentaire a aussi été menée pour identifier d’autres oeuvres actuellement conservées aux Musées du Vatican.
Grâce à notre travail, nous disposons maintenant d’une image bien plus accomplie de cet avocat consistorial et de sa collection qui était considérée à son époque comme « une des curiosités de Rome ».
/
[ENG]
Abbot and lawyer Agostino Mariotti (1724-1806) was well known in 18th century Rome. Like most of the ecclesiastics of his time, he was first of all a scholar: lawyer of the Sacred Congregation of Rites, man of letters, expert of Latin and Greek languages, bibliophile, numismatist, member of the Academy of Arcadia and also specialist in antiques and great collector. Over the course of several years he had built up an important collection, the main core of which was the Sacred Museum. With his collection, particularly rich in paintings from all periods, Mariotti's project was to tell both the history of the Church and the “Perfezione del disegno”, using Michelangelo as a pivot.
The aim of this thesis is to reconstruct the figure of the lawyer Mariotti and his collection, putting everything in perspective with the cultural context of the city of Rome in the 18th century. The new sources found have therefore made it possible to analyse the great richness of the collection, by supplementing the information available about this multifaceted figure, almost entirely forgotten after his death, despite many works of art from his collection has been acquired by the Pope and are still preserved and exhibited today in the Vatican Museums.
The first part of the thesis therefore reconstructs the biography of Agostino Mariotti, with a particular attention to his literary production and his relationships with the Italian and foreign scholars of his time. His network is thus made up mainly of people with whom he shares his favourite places of sociability, namely religious, arcades, artists from the Academy of Saint Luke, or even Jesuits despite the role played by Agostino in the suppression of the Order.
The second part focusses on the reconstruction of the entire collection of Mariotti, shared between a Sacred Museum, a Profane Museum and a Museum of Natural History. The vast documentary sources found are presented and analysed in order to give the reader a new and more complete picture of this rich and varied collection, beyond the only paintings of "primitive" artists for which Agostino was known until today.
The last part follows the dispersion of the works of art after the dissolution of the collection on the death of its creator. Particular attention is given to those that were sold to the Vatican in 1820, a transaction for which we have a large number of documentary sources and which have also enabled us to know the estimates given during the sale. Further research was also carried out to identify other works currently kept in the Vatican Museums.
Thanks to our work, we now have a much more accomplished image of this consistorial lawyer and his collection which in his time was considered "one of the curiosities of Rome".
L’abbé et avocat Agostino Mariotti (1724-1806) était bien connu dans la Rome du XVIIIe siècle. Comme la plupart des ecclésiastiques de son temps, il s’agissait d’abord d’un érudit : avocat de la Congrégation Sacrée des Rites, homme de lettres, fin connaisseur des langues latine et grecque, bibliophile, numismate, membre de l’Académie de l’Arcadie, mais aussi expert d’antiquités et grand collectionneur. En l’espace de plusieurs années il avait constitué une importante collection dont le noyau principal était formé par le musée Sacré. Avec celle-ci, particulièrement riche de peintures de toutes époques, Mariotti avait pour ambition de raconter aussi bien l’histoire de l’Église que la « Perfezione del disegno » en utilisant comme pivot l’oeuvre de Michel-Ange.
Ce travail de thèse vise d’abord à reconstruire la figure de l’avocat Mariotti et de sa collection, et de les mettre en perspective avec le contexte culturel de la ville de Rome au XVIIIe siècle. Les nouvelles sources retrouvées ont donc permis d’analyser la grande richesse de la collection, en complétant les informations disponibles sur cette figure aux multiples facettes, tombée presque entièrement dans l’oubli après sa mort, malgré les nombreuses oeuvres de son recueil ayant rejoint les collections papales et se trouvant encore aujourd’hui conservées et exposées aux musées du Vatican.
La première partie de la thèse reconstruit donc la biographie d’Agostino Mariotti, avec une attention particulière pour sa production littéraire et à ses relations avec les érudits italiens et étrangers de son temps. Son réseau est donc constitué principalement par des personnes avec lesquelles il partage ses lieux préférés de sociabilité, à savoir des religieux, des membres de l’Académie d’Arcadie, des artistes de l’Académie de Saint-Luc, ou encore des jésuites malgré le rôle joué par Agostino dans la suppression de l’Ordre.
La deuxième partie se focalise sur la reconstruction de l’ensemble de la collection de Mariotti, partagée entre un musée Sacré, un musée Profane et un musée d’histoire naturelle. Les vastes sources documentaires retrouvées sont présentées et analysées afin de redonner au lecteur une image inédite et relativement exhaustive de cette riche et variée collection et ce, au-delà des seules peintures d’artistes « primitifs » pour lesquelles Agostino était connu jusqu’à nos jours.
La dernière partie suit la dispersion des oeuvres après la dissolution de la collection à la mort de son créateur. Une attention particulière est donnée à celles qui ont été vendues au Vatican en 1820, transaction pour laquelle nous disposons d’un grand nombre de sources documentaires et qui ont permis de connaître les estimations données lors de la vente. Une recherche complémentaire a aussi été menée pour identifier d’autres oeuvres actuellement conservées aux Musées du Vatican.
Grâce à notre travail, nous disposons maintenant d’une image bien plus accomplie de cet avocat consistorial et de sa collection qui était considérée à son époque comme « une des curiosités de Rome ».
/
[ENG]
Abbot and lawyer Agostino Mariotti (1724-1806) was well known in 18th century Rome. Like most of the ecclesiastics of his time, he was first of all a scholar: lawyer of the Sacred Congregation of Rites, man of letters, expert of Latin and Greek languages, bibliophile, numismatist, member of the Academy of Arcadia and also specialist in antiques and great collector. Over the course of several years he had built up an important collection, the main core of which was the Sacred Museum. With his collection, particularly rich in paintings from all periods, Mariotti's project was to tell both the history of the Church and the “Perfezione del disegno”, using Michelangelo as a pivot.
The aim of this thesis is to reconstruct the figure of the lawyer Mariotti and his collection, putting everything in perspective with the cultural context of the city of Rome in the 18th century. The new sources found have therefore made it possible to analyse the great richness of the collection, by supplementing the information available about this multifaceted figure, almost entirely forgotten after his death, despite many works of art from his collection has been acquired by the Pope and are still preserved and exhibited today in the Vatican Museums.
The first part of the thesis therefore reconstructs the biography of Agostino Mariotti, with a particular attention to his literary production and his relationships with the Italian and foreign scholars of his time. His network is thus made up mainly of people with whom he shares his favourite places of sociability, namely religious, arcades, artists from the Academy of Saint Luke, or even Jesuits despite the role played by Agostino in the suppression of the Order.
The second part focusses on the reconstruction of the entire collection of Mariotti, shared between a Sacred Museum, a Profane Museum and a Museum of Natural History. The vast documentary sources found are presented and analysed in order to give the reader a new and more complete picture of this rich and varied collection, beyond the only paintings of "primitive" artists for which Agostino was known until today.
The last part follows the dispersion of the works of art after the dissolution of the collection on the death of its creator. Particular attention is given to those that were sold to the Vatican in 1820, a transaction for which we have a large number of documentary sources and which have also enabled us to know the estimates given during the sale. Further research was also carried out to identify other works currently kept in the Vatican Museums.
Thanks to our work, we now have a much more accomplished image of this consistorial lawyer and his collection which in his time was considered "one of the curiosities of Rome".
Research Interests:
L’articolo è un estratto della tesi di dottorato dedicata alla figura dell’avvocato romano Agostino Mariotti (1724-1806) e si concentra sul modo impiegato dall’avvocato di disporre i dipinti all’interno della sua abitazione romana.... more
L’articolo è un estratto della tesi di dottorato dedicata alla figura dell’avvocato romano Agostino Mariotti (1724-1806) e si concentra sul modo impiegato dall’avvocato di disporre i dipinti all’interno della sua abitazione romana. L’analisi dell’inventario, ritrovato nelle carte riguardanti Mariotti e oggi conservate negli archivi della Biblioteca Apostolica Vaticana, ha permesso dunque di ricostruire la disposizione stanza per stanza dei dipinti, i quali sono spesso accompagnati anche da descrizioni che permettono di conoscere i soggetti, l’autore (reale o presunto) o la data. Tutte queste informazioni messe insieme hanno permesso di ricostruire un’idea di quello che era il display della collezione Mariotti nella sua abitazione e poiché non ci sono molto altre testimonianze sulla disposizione delle opere d’arte all’interno delle collezioni romane a cavallo tra la fine del Sette e l’inizio dell’Ottocento, questo articolo risulta di interesse per tutti gli studiosi di storia del collezionismo. Gli elementi grafici che accompagnano il testo servono per visualizzare le molte informazioni presenti nell’articolo e mettere in evidenza l’horror vacui che caratterizza le scelte di gusto dell’avvocato romano.
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The history of the ephemeral apparatuses is intrinsically linked to the cultural history of the city of Rome in the modern age, as underlined since the 1970s by numerous studies dedicated to these masterpieces designed to last only a few... more
The history of the ephemeral apparatuses is intrinsically linked to the cultural history of the city of Rome in the modern age, as underlined since the 1970s by numerous studies dedicated to these masterpieces designed to last only a few days, if not a few hours. In ceremonies, especially during the Baroque period, these apparatuses were designed and built specifi cally for the events to be celebrated, such as weddings, births of sovereigns and princes’ children, religious celebrations, political ascent, and funerals. The privileged materials were wood, papier- m â ch é , and sometimes marble, which were applied to palaces and churches to transform the exteriors, updating the
aesthetics, and completely distorting them from their original versions.
This article will be particularly interested in one of these ephemeral apparatuses, namely the one created for the fa ç ade of Palazzo Spada- Veralli commissioned in Rome in 1769 by the Spanish Francisco de Sol í s Folch de Cardona (1713– 1776) to celebrate his offi ce as cardinal. The study of this apparatus and its construction will help us to better understand the political reasons behind its realization, namely, to underline the link between the Spanish crown and the Papacy in a particularly important historical moment
aesthetics, and completely distorting them from their original versions.
This article will be particularly interested in one of these ephemeral apparatuses, namely the one created for the fa ç ade of Palazzo Spada- Veralli commissioned in Rome in 1769 by the Spanish Francisco de Sol í s Folch de Cardona (1713– 1776) to celebrate his offi ce as cardinal. The study of this apparatus and its construction will help us to better understand the political reasons behind its realization, namely, to underline the link between the Spanish crown and the Papacy in a particularly important historical moment
Research Interests:
Research Interests:
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Il presente articolo vuole analizzare le figure e i processi di vendita che hanno interessato alla metà del Settecento gli acquisti sul mercato romano del Conte di Caylus. La redazione del suo celebre “Recueil d’antiquités” è stato... more
Il presente articolo vuole analizzare le figure e i processi di vendita che hanno interessato alla metà del Settecento gli acquisti sul mercato romano del Conte di Caylus. La redazione del suo celebre “Recueil d’antiquités” è stato infatti reso possibile grazie, in primis, a Paolo Maria Paciaudi, intermediario per il conte sul mercato antiquario romano. Era questo personaggio a fare da tramite tra il conte e gli antiquari presenti a Roma, considerati disonesti e senza scrupoli. Grazie allo scambio epistolare avvenuto fra il Conte di Caylus e il Paciaudi tra il 1757 e il 1765 sappiamo che a completare le fasi di negoziazione intercorrevano anche altre due figure: l’intermediario finanziario e quello logistico. Alla ricostruzione di questa complessa ma precisa macchina organizzativa si affianca anche l’analisi del trasporto degli oggetti acquistati a Roma. Questi, che dovevano essere ben imballati in modo da arrivare integri a destinazione, superati i controlli alla dogana spesso tramite sotterfugi prendevano la via terrestre o quella marittima prima di arrivare in fine a Parigi.
Research Interests: History of Art, History of Collections, Antiquarianism, 18th Century France, 18th Century, and 13 moreArt Market, Rome, History of Collecting, Patronage and collecting, Paris, History of Collecting and Antiquarianism, Antiquarianism in the eighteenth century, comte de Caylus, Antiquaria e collezionismo, History of Art Markets, Storia Del Collezionismo, 18th Century Paris, and History of Collecting and Art Markets
Research Interests:
L'articolo vuole analizzare i passaggi ereditari della famiglia Cortese-Bellotti, dalla morte del pittore Guillaume Courtois (1679) fino alla morte del nipote Giacomo Bellotti (1792). Utilizzando materiale edito (il testamento di... more
L'articolo vuole analizzare i passaggi ereditari della famiglia Cortese-Bellotti, dalla morte del pittore Guillaume Courtois (1679) fino alla morte del nipote Giacomo Bellotti (1792). Utilizzando materiale edito (il testamento di Guglielmo Cortese, R. Benucci, 2001) ed inedito (i testamenti di Margherita Cortese e Giacomo Bellotti, figlia e nipote del pittore francese), sono stati analizzati quali dipinti sono passati in eredità, quali sono spariti dall’asse ereditario alla fine del XVIII secolo e quali sono andati a « sostituirli » nella collezione di famiglia.
Guillaume Courtois (1628 – 1679), allievo di Pietro da Cortona, lascia in eredità alla moglie Felice Renzi tutti gli oggetti e le opere a lui appartenute. Tra queste figurano dipinti (a maggioranza non finiti), bozzetti, disegni, calchi in gesso etc. prevalentemente di mano dell’artista e solo alcuni dipinti e disegni di altri artisti (Brueghel, Ferdinand Voet, un Correggio, un Mola, un Sacchi..). Felice Renzi decide di mantenere intatta la « collezione » che si era venuta a formare con lo scopo di creare la dote per l’unica figlia rimasta della coppia, Margherita.
Guglielmo era stato legato alla famiglia dei Borghese per diverso tempo, famosa è la pala di Monte Porzio commissionata dalla famiglia all’artista borgognone. Il legame con la famiglia Borghese e la dote paterna, garantiscono a Margherita un buon matrimonio poiché sposa nel 1702 Antonio Bellotti, maestro di Camera della famiglia romana. Tutta la famiglia Bellotti, compreso anche il fratello di Antonio, Francesco, vivranno nel Palazzo Borghese per decenni. Nel 1744, Margherita muore lasciando la sua eredità ai figli: i dipinti di Guglielmo Cortese, a maggioranza conservati da Margherita, passano dunque al di lei figlio Giacomo (1708-1792). Questi, a sua volta legato alla famiglia Borghese come maestro di Casa, si dedica con passione all’antiquaria, di moda nel XVIII secolo. Cambiano i gusti collezionistici tanto che nel suo inventario Giacomo conserva pochissimi dipinti provenienti dall’eredità Cortese, al loro posto spiccano dipinti o copie di altri autori, quali il Padovanino e il Benefial.
Guillaume Courtois (1628 – 1679), allievo di Pietro da Cortona, lascia in eredità alla moglie Felice Renzi tutti gli oggetti e le opere a lui appartenute. Tra queste figurano dipinti (a maggioranza non finiti), bozzetti, disegni, calchi in gesso etc. prevalentemente di mano dell’artista e solo alcuni dipinti e disegni di altri artisti (Brueghel, Ferdinand Voet, un Correggio, un Mola, un Sacchi..). Felice Renzi decide di mantenere intatta la « collezione » che si era venuta a formare con lo scopo di creare la dote per l’unica figlia rimasta della coppia, Margherita.
Guglielmo era stato legato alla famiglia dei Borghese per diverso tempo, famosa è la pala di Monte Porzio commissionata dalla famiglia all’artista borgognone. Il legame con la famiglia Borghese e la dote paterna, garantiscono a Margherita un buon matrimonio poiché sposa nel 1702 Antonio Bellotti, maestro di Camera della famiglia romana. Tutta la famiglia Bellotti, compreso anche il fratello di Antonio, Francesco, vivranno nel Palazzo Borghese per decenni. Nel 1744, Margherita muore lasciando la sua eredità ai figli: i dipinti di Guglielmo Cortese, a maggioranza conservati da Margherita, passano dunque al di lei figlio Giacomo (1708-1792). Questi, a sua volta legato alla famiglia Borghese come maestro di Casa, si dedica con passione all’antiquaria, di moda nel XVIII secolo. Cambiano i gusti collezionistici tanto che nel suo inventario Giacomo conserva pochissimi dipinti provenienti dall’eredità Cortese, al loro posto spiccano dipinti o copie di altri autori, quali il Padovanino e il Benefial.
Research Interests:
Research Interests: XVIII century, History of Collections, Antiquarianism, 18th Century, Art Market, and 10 moreHistory of Collecting, Patronage and collecting, History of Collecting and Antiquarianism, Antiquarianism in the eighteenth century, comte de Caylus, Antiquaria e collezionismo, Storia Del Collezionismo, Archeology, History of Collecting and Art Markets, and Giacomo Bellotti
L’articolo si propone di aggiungere un ulteriore tassello al diversificato mondo romano dell’antiquaria settecentesca sia grazie allo sviluppo del materiale edito, che al ritrovamento di un cospicuo numero di informazioni inedite... more
L’articolo si propone di aggiungere un ulteriore tassello al diversificato mondo romano dell’antiquaria settecentesca sia grazie allo sviluppo del materiale edito, che al ritrovamento di un cospicuo numero di informazioni inedite riguardanti la figura di Giacomo Bellotti (Roma 1708 - ivi 1792). Nipote del pittore Guillaume Courtois detto il Borgognone, Giacomo lavorava presso la famiglia Borghese continuando una tradizione iniziata dal padre. Questa posizione gli consentì, nell’arco di una cinquantina d’anni, di dedicarsi alle compravendite di reperti archeologi e agli scavi, come quelli compiuti lungo la via Appia o nella zona di Monte Porzio, all’epoca della famiglia Borghese. Il ritrovamento negli archivi romani del suo testamento ci consente anche di conoscere gli oggetti da lui posseduti tra i quali monete, statuette e quadri. Questi ultimi in particolare provengono in parte dall’eredità del nonno Guillaume Courtois ed in parte sono stati acquistati sul mercato romano, informazioni fondamentali per comprendere le sue scelte di gusto.
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The article here presented aims to add a further piece to the diversified antiquarian Roman world of the eighteenth century thanks to the analysis of the published material, as well as with the findings of a large number of unpublished sources concerning the figure of Giacomo Bellotti (Rome, 1708 - 1792). Grandson of the painter Guillaume Courtois called Borgognone, Giacomo worked for the Borghese family continuing a tradition begun by his father before him. This position enabled him, over a period of fifty years, to dedicate himself to the trade of archaeological artifacts and to the excavations, such as those carried out along the « via Appia » or in the area of Monte Porzio, at the time of the Borghese family. The findings in the Roman archives of his last will and testament allows us to discover the objects he possessed, including coins, statuettes and paintings. These latter in particular come in part from the legacy of Guillaume Courtois and partly from acquisitions on the Roman market, offering fundamental information to understand his taste’s choices.
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The article here presented aims to add a further piece to the diversified antiquarian Roman world of the eighteenth century thanks to the analysis of the published material, as well as with the findings of a large number of unpublished sources concerning the figure of Giacomo Bellotti (Rome, 1708 - 1792). Grandson of the painter Guillaume Courtois called Borgognone, Giacomo worked for the Borghese family continuing a tradition begun by his father before him. This position enabled him, over a period of fifty years, to dedicate himself to the trade of archaeological artifacts and to the excavations, such as those carried out along the « via Appia » or in the area of Monte Porzio, at the time of the Borghese family. The findings in the Roman archives of his last will and testament allows us to discover the objects he possessed, including coins, statuettes and paintings. These latter in particular come in part from the legacy of Guillaume Courtois and partly from acquisitions on the Roman market, offering fundamental information to understand his taste’s choices.
Research Interests: XVIII century, History of Collections, 18th Century, Art Market, History of Collecting, and 14 morePatronage and collecting, History of Collecting and Antiquarianism, Digging, History of Taste, Monte Porzio Catone, History of Art Markets, Borghese Family, Collezione Borghese, History of Collecting and Art Markets, Guillaume Courtois, Guglielmo Cortese, Giacomo Bellotti, Roman market, and Roman market in XVIII century
Research Interests:
Research Interests:
"Caylus Ltd" or the informal international art dealing company designed by the count of Caylus (1692-1765), "Tools for the Future: Researching art market Practices from Past to Present. Financial Structures and Practices on the Art Market", 11-12 giugno 2021 (CEST), Université Sorbonne/IESA (online)more
The recent research about the count of Caylus (1692-1765) and the roman art market of the full 18th century has allowed to identify the dynamics of the transactions carried out by the count and the organization he built for his... more
The recent research about the count of Caylus (1692-1765) and the roman art market of the full 18th century has allowed to identify the dynamics of the transactions carried out by the count and the organization he built for his purchases.
This structure, in charge of the research, purchase and delivery of new pieces destined to the Caylus collection, counted 3 main roles, distributed among Paris and Rome: “artistic”, “financial” and “logistic” intermediaries. The “artistic” intermediary was searching for pieces of potential interest for the count by visiting the numerous art dealers present in Rome. Once the pieces found, he was asking Caylus, who was living in Paris, for confirmation and approval of the deal. A “financial” intermediary was keeping the finances of the count for his businesses in Italy, transferring the money to pay the transactions. Finally, the “logistic” intermediary took care that the goods were safely delivered to Paris, sometimes using diplomats, exploiting their immunity to avoid customs and speed up the process.
The organisation here presented, despite the central decision-making role played by the count of Caylus, allowed to delegate the tasks to specialized actors, leaving them the responsibility of implementing the given actions, while controlling those performed by the others. In today business schools we would call this structure a “functional organization” which leads to operational efficiency thanks to specialists within their own realm of expertise.
This presentation would illustrate the informal international art dealing company designed by the count of Caylus for his purchases on the roman art market, the actors involved and analyse this structure applying a modern business approach, making it the “Caylus Ltd”.
This structure, in charge of the research, purchase and delivery of new pieces destined to the Caylus collection, counted 3 main roles, distributed among Paris and Rome: “artistic”, “financial” and “logistic” intermediaries. The “artistic” intermediary was searching for pieces of potential interest for the count by visiting the numerous art dealers present in Rome. Once the pieces found, he was asking Caylus, who was living in Paris, for confirmation and approval of the deal. A “financial” intermediary was keeping the finances of the count for his businesses in Italy, transferring the money to pay the transactions. Finally, the “logistic” intermediary took care that the goods were safely delivered to Paris, sometimes using diplomats, exploiting their immunity to avoid customs and speed up the process.
The organisation here presented, despite the central decision-making role played by the count of Caylus, allowed to delegate the tasks to specialized actors, leaving them the responsibility of implementing the given actions, while controlling those performed by the others. In today business schools we would call this structure a “functional organization” which leads to operational efficiency thanks to specialists within their own realm of expertise.
This presentation would illustrate the informal international art dealing company designed by the count of Caylus for his purchases on the roman art market, the actors involved and analyse this structure applying a modern business approach, making it the “Caylus Ltd”.
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Collecting Orthodoxy in 18th and 19th century Rome. From the collection of Agostino Mariotti (1724-1806) to the Vatican Museums (from 1820 to today), "Collecting Orthodoxy in the West: A History and a Look Towards the Future", 11-12 giugno 2021 (EST), Museum of Russian Icons, Massachusetts (online)more
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Le vicende collezionistiche del San Benedetto attribuito a Simone Martini tra storia del gusto e del collezionismo nella Roma di Sette-Ottocento, “Itinerari del mercato artistico. Collezionisti, antiquari e intermediari da Napoleone all'Unità d'Italia”, 7-8 giugno 2021, Università di Trento (online)more
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Francesco de Solis (1713–1776), Archbishop of Seville, lived in Rome for some time by renting Palazzo Spada in Piazza Colonna. He was sent to the Eternal City by Charles III, King of Spain (1759–88), to make arrangements with Lorenzo... more
Francesco de Solis (1713–1776), Archbishop of Seville, lived in Rome for some time by renting Palazzo Spada in Piazza Colonna. He was sent to the Eternal City by Charles III, King of Spain (1759–88), to make arrangements with Lorenzo Ganganelli (1705–74) and to support his candidacy in the papal conclave. The Spanish sovereign wanted to suppress the Society of Jesus, but to do so he needed the support of the Christian pontiff. De Solis succeeded in obtaining an agreement with Ganganelli who, once he had become Pope with the name of Clement XIV in 1769, suppressed the Jesuit order. That same year, de Solis commissioned an ephemeral apparatus for the façade of Palazzo Spada. The official reason was to celebrate his promotion as cardinal, despite the fact that the nomination actually took place many years earlier under Benedict XIV (1740–58). In reality, this structure celebrated the election of the new pontiff and his relationships with Spain. The project, designed by the architect Nicola Giansimoni (1727–1800) and completed by the inscription of the scholar Agostino Mariotti (1724–1806), is displayed in the engraving of Giovanni Ottaviani (c. 1735–1808). Through the symbology of the decorations (coats of arms, inscriptions and portraits) and the reorganisation of Piazza Colonna with fountain ornaments and orchestra stages, Cardinal de Solis wanted to dress up the palace for a specific political commemoration, using art to show the relationship between the Roman Church and the Spanish kingdom. Based on the sources found, the presentation analyses the message behind this ephemeral façade, studying the actors and spaces involved and their historical context.
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Rivalità e gelosie tra antiquari. Il Conte di Caylus, il cardinale Alessandro Albani e i loro intermediari, convegno "Il cardinale Alessandro Albani: collezionismo, diplomazia e mercato nell’Europa del Grand Tour", 11-13 dicembre 2019, British School at Rome e Biblioteca Nazionale Centrale, Romamore
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L'association en tant que lieu de rassemblement. Les académies romaines et leur rôle dans les échanges historiques et artistiques à Rome au XVIIIe siècle, ISECS Seminar for Early Career Scholars "Participation, Collaboration, Association", 9-12 July 2019, Northumbria University, Newcastle-upon-Tynemore
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Anne-Claude-Philippe de Tubières, dit le comte de Caylus (1692-1765), doit sa réputation au célèbre Recueil d’antiquités, réalisé grâce aux nombreuses informations et objets lui fournis par ses intermédiaires dispersés dans toute... more
Anne-Claude-Philippe de Tubières, dit le comte de Caylus (1692-1765), doit sa réputation au célèbre Recueil d’antiquités, réalisé grâce aux nombreuses informations et objets lui fournis par ses intermédiaires dispersés dans toute l’Europe. Parmi ces différents intermédiaires nous retenons l’un des plus importants, à savoir le turinois Paolo Maria Paciaudi (1710-1785) qui a opéré principalement à Rome. De l'échange épistolaire entre ces deux personnages, qui a eu lieu entre 1757 et 1765, des considérations intéressantes sont émergées à propos de la figure et la « renommé » des antiquaires au XVIIIe siècle, ainsi que des détails curieux pour ce qui concerne les procédures de vente.
D’un point de vue du processus de négociation, l'analyse de la correspondance permet de suivre toutes les phases, dès l’achat à la revente, jusqu’à l’arrivé des pièces à Paris. Paciaudi se charge de retrouver sur le marché les objets potentiellement d’intérêt pour le comte de Caylus, puis il demande l’argent nécessaire pour régler ces achats à l’intermédiaire financier du comte, Charles-Joseph Natoire (1700-1777), qui gardait l’argent de Caylus prévu pour ces transactions, avant d’expédier les ouvres au comte. Les marchants aussi pouvaient envoyer les objets présentant un intérêt potentiel directement au comte, en fonction de ses goûts ou de ses demandes spécifiques. Le comte choisissait donc les objets à conserver pour sa collection, et il renvoyait aux expéditeurs ceux jugées insuffisamment intéressantes.
Dans les lettres du turinois émergent également la connaissance et les contrastes avec les marchands d’antiquités à Rome. Le cardinal Alessandro Albani (1692-1779), possesseur d’une richissime collection d’objets antiques exposés dans sa villa à Rome, est appelé « brocanteur » car le religieux, antifrançais, refuse la demande du comte de Caylus de donner accès à sa villa à Paciaudi et à l’artiste Hubert Rober (1733-1808). La renommée du cardinal était aussi celle d’un faussaire (« tant soit peu fripon »). D’autres personnages, jugés initialement « honnêtes », montrent bientôt leurs vraies intentions. Francesco Alfani (?-1798) est appelés « le plus grand fripon de l’univers » et Giacomo Bellotti (1708-1792) est décrit comme « le maître de ne rien faire venir ». La citation de Paciaudi sur ces personnages est tout à fait significative : « ce sont des marchands plutôt que des savans, et qu’en conséquence ils veulent toujours gagner quelque chose, et pour les antiquités qu’ils vendent, et pour leur industrie, et pour la peine d’envoyer et de reprendre leur marchandise ».
La communication veut donc analyser le processus de négociation d’antiquités ainsi que la réputation des antiquaires dans le seconde moitié du XVIIIe siècle.
D’un point de vue du processus de négociation, l'analyse de la correspondance permet de suivre toutes les phases, dès l’achat à la revente, jusqu’à l’arrivé des pièces à Paris. Paciaudi se charge de retrouver sur le marché les objets potentiellement d’intérêt pour le comte de Caylus, puis il demande l’argent nécessaire pour régler ces achats à l’intermédiaire financier du comte, Charles-Joseph Natoire (1700-1777), qui gardait l’argent de Caylus prévu pour ces transactions, avant d’expédier les ouvres au comte. Les marchants aussi pouvaient envoyer les objets présentant un intérêt potentiel directement au comte, en fonction de ses goûts ou de ses demandes spécifiques. Le comte choisissait donc les objets à conserver pour sa collection, et il renvoyait aux expéditeurs ceux jugées insuffisamment intéressantes.
Dans les lettres du turinois émergent également la connaissance et les contrastes avec les marchands d’antiquités à Rome. Le cardinal Alessandro Albani (1692-1779), possesseur d’une richissime collection d’objets antiques exposés dans sa villa à Rome, est appelé « brocanteur » car le religieux, antifrançais, refuse la demande du comte de Caylus de donner accès à sa villa à Paciaudi et à l’artiste Hubert Rober (1733-1808). La renommée du cardinal était aussi celle d’un faussaire (« tant soit peu fripon »). D’autres personnages, jugés initialement « honnêtes », montrent bientôt leurs vraies intentions. Francesco Alfani (?-1798) est appelés « le plus grand fripon de l’univers » et Giacomo Bellotti (1708-1792) est décrit comme « le maître de ne rien faire venir ». La citation de Paciaudi sur ces personnages est tout à fait significative : « ce sont des marchands plutôt que des savans, et qu’en conséquence ils veulent toujours gagner quelque chose, et pour les antiquités qu’ils vendent, et pour leur industrie, et pour la peine d’envoyer et de reprendre leur marchandise ».
La communication veut donc analyser le processus de négociation d’antiquités ainsi que la réputation des antiquaires dans le seconde moitié du XVIIIe siècle.
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Agostino Mariotti (1724-1806) era un abate romano, un avvocato della Sacra Congregazione dei Riti ed un noto grecista. Dal 1759, e fino alla sua morte, mise insieme una ricchissima collezione di oggetti sacri e profani denominata dallo... more
Agostino Mariotti (1724-1806) era un abate romano, un avvocato della Sacra Congregazione dei Riti ed un noto grecista. Dal 1759, e fino alla sua morte, mise insieme una ricchissima collezione di oggetti sacri e profani denominata dallo stesso Mariotti « Museo Sacro ». Il museo veniva aperto una volta l’anno il giorno di sant’Agostino dando così modo di accrescere la fama della collezione, conosciuta da molte personalità italiane ed internazionali, in particolare francesi.
Seroux d'Agincourt (1730-1814) inserì nella sua Histoire de l’Art qualche oggetto del « Museo Sacro » di Mariotti. Inoltre, l’abate romano fece per il francese una traduzione, dal greco all’italiano, delle iscrizioni di un “quadro greco di bassissimo tempo”.
Alexandre de Fauris de Saint-Vincens (1750 – 1819), magistrato d’Aix en Provence, ebbe degli scambi epistolari con Mariotti in cui chiese all’abate i disegni di alcuni monumenti antichi presenti nella sua collezione. Scambi epistolari avvennero anche tra Agostino e Jacques-Gabriel Pouillard (1751-1823), anch’egli di Aix en Provence e carmelitano di San Martino ai Monti a Roma, circa “il preteso Regno, o Corona di S. Silvestro”.
Interessante è anche il legame tra Aubin-Louis Millin (1759 – 1818) e il museo Mariotti dopo la morte di questi. Il Millin conosceva il museo romano grazie a Pouillard e sappiamo che nel 1813, durante il suo soggiorno a Roma, vide l’arazzo di Raffaello (capolavoro del museo Mariotti) presso i Torlonia.
Quasi tutti questi personaggi erano di una generazione più giovane dell’abate romano ma tutti ugualmente affascinati da quella collezione che era considerata « Une des curiosités de Rome ».
Seroux d'Agincourt (1730-1814) inserì nella sua Histoire de l’Art qualche oggetto del « Museo Sacro » di Mariotti. Inoltre, l’abate romano fece per il francese una traduzione, dal greco all’italiano, delle iscrizioni di un “quadro greco di bassissimo tempo”.
Alexandre de Fauris de Saint-Vincens (1750 – 1819), magistrato d’Aix en Provence, ebbe degli scambi epistolari con Mariotti in cui chiese all’abate i disegni di alcuni monumenti antichi presenti nella sua collezione. Scambi epistolari avvennero anche tra Agostino e Jacques-Gabriel Pouillard (1751-1823), anch’egli di Aix en Provence e carmelitano di San Martino ai Monti a Roma, circa “il preteso Regno, o Corona di S. Silvestro”.
Interessante è anche il legame tra Aubin-Louis Millin (1759 – 1818) e il museo Mariotti dopo la morte di questi. Il Millin conosceva il museo romano grazie a Pouillard e sappiamo che nel 1813, durante il suo soggiorno a Roma, vide l’arazzo di Raffaello (capolavoro del museo Mariotti) presso i Torlonia.
Quasi tutti questi personaggi erano di una generazione più giovane dell’abate romano ma tutti ugualmente affascinati da quella collezione che era considerata « Une des curiosités de Rome ».
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Dalla collezione di un artista a quella di un antiquario. Da Guglielmo Cortese (1679) a Giacomo Bellotti (1792), partecipazione al convegno "Le collezioni degli artisti in Italia: trasformazioni e continuità di un fenomeno sociale tra Cinquecento e Settecento", 22 giugno 2017, British School at Romemore
La mia proposta vuole analizzare i passaggi ereditari della famiglia Cortese-Bellotti, dalla morte del pittore Guillaume Courtois (1679) fino alla morte del nipote Giacomo Bellotti (1792). Utilizzando materiale edito (il testamento di... more
La mia proposta vuole analizzare i passaggi ereditari della famiglia Cortese-Bellotti, dalla morte del pittore Guillaume Courtois (1679) fino alla morte del nipote Giacomo Bellotti (1792). Utilizzando materiale edito (il testamento di Guglielmo Cortese, R. Benucci, 2001) ed inedito (i testamenti di Margherita Cortese e Giacomo Bellotti, figlia e nipote del pittore francese), analizzerò quali dipinti sono passati in eredità, quali sono spariti dall’asse ereditario alla fine del XVIII secolo e quali sono andati a « sostituirli » nella collezione di famiglia.
Guillaume Courtois (1628 – 1679), allievo di Pietro da Cortona, lascia in eredità alla moglie Felice Renzi tutti gli oggetti e le opere a lui appartenute. Tra queste figurano dipinti (a maggioranza non finiti), bozzetti, disegni, calchi in gesso etc. prevalentemente di mano dell’artista e solo alcuni dipinti e disegni di altri artisti (Brueghel, Ferdinand Voet, un Correggio, un Mola, un Sacchi..). Felice Renzi decide di mantenere intatta la « collezione » che si era venuta a formare con lo scopo di creare la dote per l’unica figlia rimasta della coppia, Margherita.
Guglielmo era stato legato alla famiglia dei Borghese per diverso tempo, famosa è la pala di Monte Porzio commissionata dalla famiglia all’artista borgognone. Il legame con la famiglia Borghese e la dote paterna, garantiscono a Margherita un buon matrimonio poiché sposa nel 1702 Antonio Bellotti, maestro di Camera della famiglia romana. Tutta la famiglia Bellotti, compreso anche il fratello di Antonio, Francesco, vivranno nel Palazzo Borghese per decenni. Nel 1744, Margherita muore lasciando la sua eredità ai figli : i dipinti di Guglielmo Cortese, a maggioranza conservati da Margherita, passano dunque al di lei figlio Giacomo (1708-1792). Questi, a sua volta legato alla famiglia Borghese come maestro di Casa, si dedica con passione all’antiquaria, di moda nel XVIII secolo1. Cambiano i gusti collezionistici tanto che nel suo inventario Giacomo conserva pochissimi dipinti provenienti dall’eredità Cortese, al loro posto spiccano dipinti o copie di altri autori, quali il Padovanino e il Benefial.
Guillaume Courtois (1628 – 1679), allievo di Pietro da Cortona, lascia in eredità alla moglie Felice Renzi tutti gli oggetti e le opere a lui appartenute. Tra queste figurano dipinti (a maggioranza non finiti), bozzetti, disegni, calchi in gesso etc. prevalentemente di mano dell’artista e solo alcuni dipinti e disegni di altri artisti (Brueghel, Ferdinand Voet, un Correggio, un Mola, un Sacchi..). Felice Renzi decide di mantenere intatta la « collezione » che si era venuta a formare con lo scopo di creare la dote per l’unica figlia rimasta della coppia, Margherita.
Guglielmo era stato legato alla famiglia dei Borghese per diverso tempo, famosa è la pala di Monte Porzio commissionata dalla famiglia all’artista borgognone. Il legame con la famiglia Borghese e la dote paterna, garantiscono a Margherita un buon matrimonio poiché sposa nel 1702 Antonio Bellotti, maestro di Camera della famiglia romana. Tutta la famiglia Bellotti, compreso anche il fratello di Antonio, Francesco, vivranno nel Palazzo Borghese per decenni. Nel 1744, Margherita muore lasciando la sua eredità ai figli : i dipinti di Guglielmo Cortese, a maggioranza conservati da Margherita, passano dunque al di lei figlio Giacomo (1708-1792). Questi, a sua volta legato alla famiglia Borghese come maestro di Casa, si dedica con passione all’antiquaria, di moda nel XVIII secolo1. Cambiano i gusti collezionistici tanto che nel suo inventario Giacomo conserva pochissimi dipinti provenienti dall’eredità Cortese, al loro posto spiccano dipinti o copie di altri autori, quali il Padovanino e il Benefial.
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Ludwig Pollak (Prague 1868-Auschwitz 1943), born in Prague and Roman by adoption, was a preeminent archaeologist, a fine connoisseur and an art dealer between the end of the 19th century and the first decades of the 20th century. His... more
Ludwig Pollak (Prague 1868-Auschwitz 1943), born in Prague and Roman by adoption, was a preeminent archaeologist, a fine connoisseur and an art dealer between the end of the 19th century and the first decades of the 20th century. His mother’s family, descendent from Sephardic Jews living in Prague for centuries, had a preeminent role in Ludwig’s cultural and religious education so that, at the end of his studies, he became a professional skilled in many activities related to a deep and passionate knowledge of works of art belonging to different periods, from the Greek and Roman antiquity until the Middle Ages, the Renaissance and beyond. Thanks to his uncommon connoisseurship Ludwig Pollak was entrusted to write several catalogues of prestigious private collections – the Nelidow (1903) and Stroganoff (1912) collections above all- and to buy and sell different kind of works of art to some of the richest collectors and most influential museums’ directors of his time, such as J. P. Morgan and Wilhelm Bode. At the same time Pollak collected several precious objects for his private collection, including ancient and medieval sculptures, terracotta bozzetti of the greatest Italian masters of the Baroque and hundreds of Old Masters drawings, still circulating among today’s art market.
Ludwig Pollak was a very passionate collector of drawings of the Baroque era and he shared his enthusiasm in this field with the young Denis Mahon, with whom he had an intense correspondence between 1936 and 1937. The deep experience and artistic knowledge of the archaeologist were not able to save him and his family from the Nazi-fascist deportation from the Rome ghetto on 16th October 1943. A part of the precious objects of his private collection saved from the last auctions’ sales were donated to the Municipality of Rome in 1951 and 1958 by the last Pollak’s heir Margarete Süssmann Nicod, his second wife’s sister.
Ludwig Pollak was a very passionate collector of drawings of the Baroque era and he shared his enthusiasm in this field with the young Denis Mahon, with whom he had an intense correspondence between 1936 and 1937. The deep experience and artistic knowledge of the archaeologist were not able to save him and his family from the Nazi-fascist deportation from the Rome ghetto on 16th October 1943. A part of the precious objects of his private collection saved from the last auctions’ sales were donated to the Municipality of Rome in 1951 and 1958 by the last Pollak’s heir Margarete Süssmann Nicod, his second wife’s sister.
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This lecture will present an analysis of the collection of paintings and sculptures that the Borghese family displayed at Villa Mondragone on the Tusculan hills, in Rome countryside, in the 17th and 18th Centuries. It will explore how the... more
This lecture will present an analysis of the collection of paintings and sculptures that the Borghese family displayed at Villa Mondragone on the Tusculan hills, in Rome countryside, in the 17th and 18th Centuries. It will explore how the variable contents and set-up of the art collection reflected the family’s intentions of self-representation of their power. Basing on unpublished archival documents, primary sources, and a new comprehensive comparison among the Borghese collection inventories, it is possible to identify the pieces once on display at Villa Mondragone, which are currently still housed at the Galleria Borghese, scattered around international museums or dispersed. By focusing on the main patrons of the Borghese family, the change of the collection contents can be traced, especially according to the Cardinal Scipione Caffarelli Borghese’s (1577 – 1633) and the Prince Marcantonio IV Borghese’s (1730 – 1800) respective visions. The transfers of the Borghese collection pieces between the collecting seats of the family inside and outside Rome, such as Palazzo Borghese in Campo Marzio, Villa Borghese fuori di Porta Pinciana, and Villa Borghese di Mondragone, serve as signposts, indicating the connection between the family’s collecting projects on one hand, and their political, economic and social projects on the other.
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The lecture will present a summary of mostly unpublished archival research focussing on Stefano Bardini’s network in Rome between 1880 and 1905. An analytical interpretation of more than 3000 documents including letters, invoices, address... more
The lecture will present a summary of mostly unpublished archival research focussing on Stefano Bardini’s network in Rome between 1880 and 1905. An analytical interpretation of more than 3000 documents including letters, invoices, address books and more, which offers an interesting point of
view on the art market in Rome, its actors and the topography involved in the circulation of artworks and antiquities before a proper art protection Italian legislation got in place. Spotlights on different generations of art dealers, such as Alessandro Castellani (1823-1883), Attilio Simonetti (1843-1925) and Alfredo Barsanti (1877-1946), will demonstrate how the role of merchants, connoisseurs and amateurs were fascinatingly interchangeable within this context. Developing their personal interests, while experiencing the conflict between the public need to regulate the fast growing global art market and the desire to recognize a universal stylistic primacy for Italian culture, these characters contributed to place Rome on the radar of the most prominent international art collectors during the Gilded age and beyond. At the same time we can see how in 25 years of trading art in Rome dealers shifted from a highly personal and entrepreneurial business model, to one that reflected more and more the global art market, becoming modern businessmen with taste.
view on the art market in Rome, its actors and the topography involved in the circulation of artworks and antiquities before a proper art protection Italian legislation got in place. Spotlights on different generations of art dealers, such as Alessandro Castellani (1823-1883), Attilio Simonetti (1843-1925) and Alfredo Barsanti (1877-1946), will demonstrate how the role of merchants, connoisseurs and amateurs were fascinatingly interchangeable within this context. Developing their personal interests, while experiencing the conflict between the public need to regulate the fast growing global art market and the desire to recognize a universal stylistic primacy for Italian culture, these characters contributed to place Rome on the radar of the most prominent international art collectors during the Gilded age and beyond. At the same time we can see how in 25 years of trading art in Rome dealers shifted from a highly personal and entrepreneurial business model, to one that reflected more and more the global art market, becoming modern businessmen with taste.
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Édouard André (1833-1894) and Nélie Jacquemart (1841-1912) were part of the collectionist movement that was the prerogative of the bourgeoisie at the end of the 19th century. He belonged to a large family of French Protestant bankers; she... more
Édouard André (1833-1894) and Nélie Jacquemart (1841-1912) were part of the collectionist movement that was the prerogative of the bourgeoisie at the end of the 19th century. He belonged to a large family of French Protestant bankers; she was a Catholic artist-painter of modest origins. There is no reason to believe that they were married in 1881. One might wonder what could have brought two such different people together: it is certainly their common passion for art. Unlike most collectors of their time, from the beginning of their marriage the couple showed originality by buying their works not at public auction but directly from antique dealers. For almost thirty years, they maintained close relations with the best Italian antique dealers and the greatest art experts of the time, thus constituting an exceptional collection, still intact today. Through the analysis of their modus operandi and the study of the Italian art market between Florence and Rome, the aim is to study their taste and to show the importance of this unique collection in the eclectic panorama of late nineteenth-century collecting.
Steering Committee: Dr. Luca Giacomelli (Alma Mater Studiorum Università di Bologna), Dr. Claudio Gulli (Fondazione Palazzo Butera), Dr. Alice S. Legé (Independent Scholar and Assistant Curator at the Royal Palace of Caserta), Dr. Ginevra Odone (Independent Scholar), Dr. Valeria Paruzzo (Università degli Studi di Trento), Dr. Pier Ludovico Puddu (Researcher at Palacký University, Olomouc), Dr. Giuseppe Rizzo (Museum Assistant at The Uffizi Galleries and Rupert-Karls-Universität Heidelberg)
Steering Committee: Dr. Luca Giacomelli (Alma Mater Studiorum Università di Bologna), Dr. Claudio Gulli (Fondazione Palazzo Butera), Dr. Alice S. Legé (Independent Scholar and Assistant Curator at the Royal Palace of Caserta), Dr. Ginevra Odone (Independent Scholar), Dr. Valeria Paruzzo (Università degli Studi di Trento), Dr. Pier Ludovico Puddu (Researcher at Palacký University, Olomouc), Dr. Giuseppe Rizzo (Museum Assistant at The Uffizi Galleries and Rupert-Karls-Universität Heidelberg)
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Before becoming the famous antiquarian of Renaissance Art, Stefano Bardini (1836-1922) was a painter. He moved to Florence from Pieve di Santo Stefano (Arezzo) in 1853 to study at the Accademy of Fine Arts with Giuseppe Bezzuoli,... more
Before becoming the famous antiquarian of Renaissance Art, Stefano Bardini (1836-1922) was a painter. He moved to Florence from Pieve di Santo Stefano (Arezzo) in 1853 to study at the Accademy of Fine Arts with Giuseppe Bezzuoli, Benedetto Servolini and Antonio Puccinelli. During the early years Bardini took part to several competitions with Florentine Renaissance subject paintings. He got several recognitions and exhibited his works at the Promotrice in Florence and Turin. Bardini also gained a prize at the Ricasoli Competition in 1859-1860.
Towards the end of the Sixties, Stefano interrupted his artistic career. He enlisted Garibaldi’s Army and when he returned to Florence he started restoring and selling Old Masters’Art. In this way he became the well-known «Prince of Antiquarians». This lecture presents researches whose first results are in course of publication in “MDCCC1800” (Ca’ Foscari University, Venice).
Steering Committee: Dr. Luca Giacomelli (Alma Mater Studiorum Università di Bologna), Dr. Claudio Gulli (Fondazione Palazzo Butera), Dr. Alice S. Legé (Independent Scholar and Assistant Curator at the Royal Palace of Caserta), Dr. Ginevra Odone (Independent Scholar), Valeria Paruzzo (Ph.D. candidate at Università degli Studi di Trento), Dr. Pier Ludovico Puddu (Researcher at Palacký University, Olomouc), Giuseppe Rizzo (Museum Assistant at The Uffizi Galleries and Ph.D candidate at the Rupert-Karls-Universität Heidelberg)
Towards the end of the Sixties, Stefano interrupted his artistic career. He enlisted Garibaldi’s Army and when he returned to Florence he started restoring and selling Old Masters’Art. In this way he became the well-known «Prince of Antiquarians». This lecture presents researches whose first results are in course of publication in “MDCCC1800” (Ca’ Foscari University, Venice).
Steering Committee: Dr. Luca Giacomelli (Alma Mater Studiorum Università di Bologna), Dr. Claudio Gulli (Fondazione Palazzo Butera), Dr. Alice S. Legé (Independent Scholar and Assistant Curator at the Royal Palace of Caserta), Dr. Ginevra Odone (Independent Scholar), Valeria Paruzzo (Ph.D. candidate at Università degli Studi di Trento), Dr. Pier Ludovico Puddu (Researcher at Palacký University, Olomouc), Giuseppe Rizzo (Museum Assistant at The Uffizi Galleries and Ph.D candidate at the Rupert-Karls-Universität Heidelberg)
Research Interests:
Against the backdrop of collecting genres, the collection of family portraits was a global phenomenon and a hallmark for all leading societies of ancient regime. This lecture will analyse its main manifestations in Florence under the... more
Against the backdrop of collecting genres, the collection of family portraits was a global phenomenon and a hallmark for all leading societies of ancient regime. This lecture will analyse its main manifestations in Florence under the Medici grand-ducal regime (1569-1737). Documentary resources and in particular the inventories of household furnishings will lead us to the discovery of family portraits in city palaces (and villas) of the main aristocratic families, showing the existence of common social and political narratives, characteristic of the city of Florence. Starting with the series of illustrious men, we will observe the emergence of a production of invented historical portraits with distinctive iconographic characteristics. This trend ran through a good part of the Seventeenth century, then leaving space for more complex installations based on the collection of authentic portraits, with the aim of creating visual reconstructions of genealogies. The long period in analysis will show the evolution of the collecting phenomenon as a response to the transformation of the requests for socio-political representation of Florentine society. The numerous portraits examined will demonstrate how the same forces affected the evolution of the iconography and formats of the paintings themselves, determining the evolution of local portraiture.
Steering Committee: Dr. Luca Giacomelli (Alma Mater Studiorum Università di Bologna), Dr. Claudio Gulli (Fondazione Palazzo Butera), Dr. Alice S. Legé (Independent Scholar and Assistant Curator at the Royal Palace of Caserta), Dr. Ginevra Odone (Independent Scholar), Valeria Paruzzo (Ph.D. candidate at Università degli Studi di Trento), Dr. Pier Ludovico Puddu (Researcher at Palacký University, Olomouc), Giuseppe Rizzo (Museum Assistant at The Uffizi Galleries and Ph.D candidate at the Rupert-Karls-Universität Heidelberg)
Steering Committee: Dr. Luca Giacomelli (Alma Mater Studiorum Università di Bologna), Dr. Claudio Gulli (Fondazione Palazzo Butera), Dr. Alice S. Legé (Independent Scholar and Assistant Curator at the Royal Palace of Caserta), Dr. Ginevra Odone (Independent Scholar), Valeria Paruzzo (Ph.D. candidate at Università degli Studi di Trento), Dr. Pier Ludovico Puddu (Researcher at Palacký University, Olomouc), Giuseppe Rizzo (Museum Assistant at The Uffizi Galleries and Ph.D candidate at the Rupert-Karls-Universität Heidelberg)
Research Interests:
The lecture focuses on the presence of masterpieces by Tuscan sculptors such as Lorenzo Bartolini, Luigi Pampaloni and Domenico Menconi in collection of eminent American and non-American personalities in the U.S. of the early 19th... more
The lecture focuses on the presence of masterpieces by Tuscan sculptors such as Lorenzo Bartolini, Luigi Pampaloni and Domenico Menconi in collection of eminent American and non-American personalities in the U.S. of the early 19th Century. Among others, they included William Aiken, Jr., Félix Lacoste, John Moss and Meredith Calhoun and in particular Joseph Bonaparte. The research, based on studies made in archives held in the U.S. as well as in Florence, will reveal new perspectives on transnational and artistic/art market exchanges between U.S. and Tuscany in the early 1800s and, in time, open new perspectives on the history of American collectibles at that time.
Steering Committee: Dr. Luca Giacomelli (Alma Mater Studiorum Università di Bologna), Dr. Claudio Gulli (Fondazione Palazzo Butera), Dr. Alice S. Legé (Independent Scholar and Assistant Curator at the Royal Palace of Caserta), Dr. Ginevra Odone (Independent Scholar), Valeria Paruzzo (Ph.D. candidate at Università degli Studi di Trento), Dr. Pier Ludovico Puddu (Researcher at Palacký University, Olomouc), Giuseppe Rizzo (Museum Assistant at The Uffizi Galleries and Ph.D candidate at the Rupert-Karls-Universität Heidelberg)
Steering Committee: Dr. Luca Giacomelli (Alma Mater Studiorum Università di Bologna), Dr. Claudio Gulli (Fondazione Palazzo Butera), Dr. Alice S. Legé (Independent Scholar and Assistant Curator at the Royal Palace of Caserta), Dr. Ginevra Odone (Independent Scholar), Valeria Paruzzo (Ph.D. candidate at Università degli Studi di Trento), Dr. Pier Ludovico Puddu (Researcher at Palacký University, Olomouc), Giuseppe Rizzo (Museum Assistant at The Uffizi Galleries and Ph.D candidate at the Rupert-Karls-Universität Heidelberg)
Research Interests:
This lecture will look at the role and legacy of one of the most successful art dealers operating in the international secondary art market for Old Master paintings during the first half of the twentieth century: the Italian antiquario... more
This lecture will look at the role and legacy of one of the most successful art dealers operating in the international secondary art market for Old Master paintings during the first half of the twentieth century: the Italian antiquario Alessandro Contini Bonacossi (1878-1955). Grounded in the discovery of primary archival evidence and set against the major historical events that unfolded during his lifetime, this work presents its findings by following a research process adopted to answer the following questions: who was Contini Bonacossi, what was his business network (where was he buying paintings, at what prices, and who were his clients), what was his modus operandi for selling and marketing his work, and what is his legacy. More broadly, in documenting Contini Bonacossi’s case, my research work in the field strives to rethink the role of art dealers, to look at them not solely as market professionals engaged in the dynamics of supply, demand and profit, but first and foremost as bearers and sellers of culture, whose activities were fully embedded in the socio-political environment of their time and so to acknowledge and extend knowledge about their active role in the international dissemination and interpretation of cultural heritage.
Steering Committee: Dr. Luca Giacomelli (Alma Mater Studiorum Università di Bologna), Dr. Claudio Gulli (Fondazione Palazzo Butera), Dr. Alice S. Legé (Independent Scholar and Assistant Curator at the Royal Palace of Caserta), Dr. Ginevra Odone (Independent Scholar), Valeria Paruzzo (Ph.D. candidate at Università degli Studi di Trento), Dr. Pier Ludovico Puddu (Researcher at Palacký University, Olomouc), Giuseppe Rizzo (Museum Assistant at The Uffizi Galleries and Ph.D candidate at the Rupert-Karls-Universität Heidelberg)
Steering Committee: Dr. Luca Giacomelli (Alma Mater Studiorum Università di Bologna), Dr. Claudio Gulli (Fondazione Palazzo Butera), Dr. Alice S. Legé (Independent Scholar and Assistant Curator at the Royal Palace of Caserta), Dr. Ginevra Odone (Independent Scholar), Valeria Paruzzo (Ph.D. candidate at Università degli Studi di Trento), Dr. Pier Ludovico Puddu (Researcher at Palacký University, Olomouc), Giuseppe Rizzo (Museum Assistant at The Uffizi Galleries and Ph.D candidate at the Rupert-Karls-Universität Heidelberg)
Research Interests:
The aim of this talk is to provide an analytical overview of collecting practices and patronage of Surrealist art in Britain from 1938 to 1950, within the context of Surrealists’ strategies and methodologies for disseminating the... more
The aim of this talk is to provide an analytical overview of collecting practices and patronage of Surrealist art in Britain from 1938 to 1950, within the context of Surrealists’ strategies and methodologies for disseminating the aesthetics and ideologies of the movement internationally in the interwar and post-war periods. Specifically, the seminar focuses on networks that fostered and sustained Surrealism around the London Gallery, the Surrealist gallery active in England since the end of the 1930s managed by two Surrealist artists who were also collectors: the Belgian E.L.T. Mesens and his British colleague Roland Penrose.
Steering Committee: Dr. Luca Giacomelli (Alma Mater Studiorum Università di Bologna), Dr. Claudio Gulli (Fondazione Palazzo Butera), Dr. Alice S. Legé (Independent Scholar and Assistant Curator at the Royal Palace of Caserta), Dr. Ginevra Odone (Independent Scholar), Dr. Pier Ludovico Puddu (Researcher at Palacký University, Olomouc), Giuseppe Rizzo (Museum Assistant at The Uffizi Galleries and Ph.D candidate at the Rupert-Karls-Universität Heidelberg)
Steering Committee: Dr. Luca Giacomelli (Alma Mater Studiorum Università di Bologna), Dr. Claudio Gulli (Fondazione Palazzo Butera), Dr. Alice S. Legé (Independent Scholar and Assistant Curator at the Royal Palace of Caserta), Dr. Ginevra Odone (Independent Scholar), Dr. Pier Ludovico Puddu (Researcher at Palacký University, Olomouc), Giuseppe Rizzo (Museum Assistant at The Uffizi Galleries and Ph.D candidate at the Rupert-Karls-Universität Heidelberg)
Research Interests:
Il tema delle fake news è di grande attualità e rilevanza per i mezzi e i fini con cui queste vengono messe in circolazione: esse hanno il potere di alterare la realtà e di far circolare notizie prive di fondamento. Durante la giornata di... more
Il tema delle fake news è di grande attualità e rilevanza per i mezzi e i fini con cui queste vengono messe in circolazione: esse hanno il potere di alterare la realtà e di far circolare notizie prive di fondamento. Durante la giornata di studi si indagherà la modalità in cui l'alterazione del messaggio è stata assunta come verità nella storia dell'arte, ripercorrendo l'iter del processo artistico e la conseguente creazione delle fake news.
Comitato scientifico e organizzativo: Francesca Alberti (Académie de France à Rome – Villa Médicis), Camilla Ceccotti (Sapienza – Università di Roma e Sorbonne Université/RAHN), Patrizia Celli (Académie de France à Rome – Villa Médicis), Pauline Lafille (EPHE/Académie de France à Rome – Villa Médicis), Ginevra Odone (Université de Lorraine e Sapienza – Università di Roma/RAHN), Francesca Parrilla (University of Notre Dame Rome Global Gateway/RAHN) e Ariane Varela Braga (Zurich Universität/RAHN).
Comitato scientifico e organizzativo: Francesca Alberti (Académie de France à Rome – Villa Médicis), Camilla Ceccotti (Sapienza – Università di Roma e Sorbonne Université/RAHN), Patrizia Celli (Académie de France à Rome – Villa Médicis), Pauline Lafille (EPHE/Académie de France à Rome – Villa Médicis), Ginevra Odone (Université de Lorraine e Sapienza – Università di Roma/RAHN), Francesca Parrilla (University of Notre Dame Rome Global Gateway/RAHN) e Ariane Varela Braga (Zurich Universität/RAHN).
Research Interests:
The expression ‘fake news’, created in the 21st century, is both of great relevance and resonance: fake news have the power to alter reality and spread information on a large scale. The post-truth definition, coined in 2016 and admitted... more
The expression ‘fake news’, created in the 21st century, is both of great relevance and resonance: fake news have the power to alter reality and spread information on a large scale.
The post-truth definition, coined in 2016 and admitted in the Oxford English Dictionary, offers a fitting description of how, by exploiting common discontent, a piece of news is perceived and accepted as true by the public, based exclusively on emotions and without a sound critical analysis.
The concept of fake news distorts the notions of truth and falsehood: it undermines users, including scholars, who are forced to investigate and sift with greater scientific acumen existing primary sources.
Over time historians of art and architecture have learnt to deal with ‘fake news' as historical and artistic assets have often been manipulated to communicate an altered truth.
Ingres’ painting François Ier reçoit les derniers soupirs de Leonardo de Vinci is a clear example of this practice. The painter depicts the King at Leonardo’s bedside - a well-crafted lie given that the painter died far from the royal court. This false historicized iconography, based on the inexact information reported by Vasari in his Lives, has now had the effect of spreading this common belief.
Ranging from antiquity to the contemporary age, the 2019 Doctoral Study Day intends to analyse the re-elaboration of historical data in the artistic process. This conference will cover the patron’s requests to the artist's work up to the reception by the public - as well as the methodology used by art and architecture historians to study such constructed and sometimes counterfeited truths.
We are accepting papers that engage with these topics, possible themes include but are not limited to:
-consciousness or non-awareness of fake news by users;
-manipulation and intentionality of the represented subject;
-concept of "false" from the past to the contemporary;
-self-certification and purposes;
-historical representation, between propaganda and preparation;
-terminology relating to counterfeiting;
-scientific investigation methodology.
We invite candidates to submit 15/20-minute papers that, by means of case studies or theoretical observations, point to the centre of this methodological practice. We accept proposals in English, Italian and French, papers may be delivered in the above-mentioned languages.
Proposals must be submitted in abstract form (up to 700 characters max.) together with a short CV (700 characters max.) by the 27th of March 2019 to the following email: rahn.giornatadottorale@gmail.com
The post-truth definition, coined in 2016 and admitted in the Oxford English Dictionary, offers a fitting description of how, by exploiting common discontent, a piece of news is perceived and accepted as true by the public, based exclusively on emotions and without a sound critical analysis.
The concept of fake news distorts the notions of truth and falsehood: it undermines users, including scholars, who are forced to investigate and sift with greater scientific acumen existing primary sources.
Over time historians of art and architecture have learnt to deal with ‘fake news' as historical and artistic assets have often been manipulated to communicate an altered truth.
Ingres’ painting François Ier reçoit les derniers soupirs de Leonardo de Vinci is a clear example of this practice. The painter depicts the King at Leonardo’s bedside - a well-crafted lie given that the painter died far from the royal court. This false historicized iconography, based on the inexact information reported by Vasari in his Lives, has now had the effect of spreading this common belief.
Ranging from antiquity to the contemporary age, the 2019 Doctoral Study Day intends to analyse the re-elaboration of historical data in the artistic process. This conference will cover the patron’s requests to the artist's work up to the reception by the public - as well as the methodology used by art and architecture historians to study such constructed and sometimes counterfeited truths.
We are accepting papers that engage with these topics, possible themes include but are not limited to:
-consciousness or non-awareness of fake news by users;
-manipulation and intentionality of the represented subject;
-concept of "false" from the past to the contemporary;
-self-certification and purposes;
-historical representation, between propaganda and preparation;
-terminology relating to counterfeiting;
-scientific investigation methodology.
We invite candidates to submit 15/20-minute papers that, by means of case studies or theoretical observations, point to the centre of this methodological practice. We accept proposals in English, Italian and French, papers may be delivered in the above-mentioned languages.
Proposals must be submitted in abstract form (up to 700 characters max.) together with a short CV (700 characters max.) by the 27th of March 2019 to the following email: rahn.giornatadottorale@gmail.com
Research Interests:
Convegno internazionale di studi
a cura di Francesca Parrilla e Matteo Borchia
in collaborazione con The British School at Rome (BSR)
su iniziativa del Rome Art History Network (RAHN)
a cura di Francesca Parrilla e Matteo Borchia
in collaborazione con The British School at Rome (BSR)
su iniziativa del Rome Art History Network (RAHN)
Research Interests:
Le dessin de Niccolò Circignani, dit Pomarancio, a été exposé pour l'exposition du Louvre titulée " La fabrique des saintes images. Rome-Paris, 1580-1660" (2 Avril 2015 au 29 Juin 2015). Il représente le martyre d'Edmund Campion et de ses... more
Le dessin de Niccolò Circignani, dit Pomarancio, a été exposé pour l'exposition du Louvre titulée " La fabrique des saintes images. Rome-Paris, 1580-1660" (2 Avril 2015 au 29 Juin 2015). Il représente le martyre d'Edmund Campion et de ses compagnons, Alexander Briant et Ralph Sherwin, à Londres le 1er décembre 1581. Il est préparatoire à la fois pour le cycle des fresques de l'église San Tommaso degli Inglesi (ou de Canterbury) à Rome peint par Niccolò Circignani et pour la gravure du livre Ecclesiae Anglicanae Trophaea de Giovan Battista Cavalieri de 1584.
Research Interests:
From aesthetic promenades in noble palaces to the performativity of religious apparatus, this edited volume reconsiders some of the events, habits and spaces that contributed to defining exhibition practices and shaping the imagery of the... more
From aesthetic promenades in noble palaces to the performativity of religious apparatus, this edited volume reconsiders some of the events, habits and spaces that contributed to defining exhibition practices and shaping the imagery of the exhibition space in the early modern period.
The contributors encourage connections between art history, exhibition studies, and architectural history, and explore micro-histories and long-term changes in order to open new perspectives for studying these pioneering exhibition-making practices. Aiming to understand what spaces have done and still do to art, the book explores an underdeveloped area in the field that has yet to trace its interdisciplinary nature and understand its place in the history of art.
The contributors encourage connections between art history, exhibition studies, and architectural history, and explore micro-histories and long-term changes in order to open new perspectives for studying these pioneering exhibition-making practices. Aiming to understand what spaces have done and still do to art, the book explores an underdeveloped area in the field that has yet to trace its interdisciplinary nature and understand its place in the history of art.
Research Interests:
Un aspetto tra i più affascinanti del collezionismo in età moderna riguarda le raccolte assemblate da artisti. L'analisi di varie tipologie di fonti e in particolare la consultazione degli inventari permette di osservare da un punto di... more
Un aspetto tra i più affascinanti del collezionismo in età moderna riguarda le raccolte assemblate da artisti. L'analisi di varie tipologie di fonti e in particolare la consultazione degli inventari permette di osservare da un punto di vista privilegiato la personalità e il ruolo sociale del collezionista, risultando di grande interesse nel caso in cui il creatore della raccolta sia un artista. Nelle abitazioni, nelle botteghe e negli studi si incontrano, insieme ai beni attinenti alla pratica del mestiere, opere esposte seguendo validi criteri di allestimento, oltre a pezzi d'antichità e oggetti di varia natura. Non sempre si tratta di un'accumulazione arbitraria, ma generalmente il possesso di queste opere riflette una precisa volontà collezionistica, frutto di orgoglio personale, di pura speculazione commerciale o del desiderio di collocarsi a un livello più alto nella scala sociale. Il volume affronta i molti aspetti di un tema delicato e problematico e fornisce l'occasione di un valido confronto tra epoche e contesti cittadini diversi dal punto di vista sociale.
Research Interests: Caravaggio, Sebastiano del Piombo, Giulio Romano, Storia Arte Moderna, Inventario, and 15 moreOnorio Longhi, Giulio Clovio, Federico Zuccari, Collezionismo, Girolamo Muziano, Farnese Collection, Daniele Da Volterra, Prospero Orsi, Marcello Venusti, Francesco de Mura, Collezione Borghese, Pasquale Ottino, Guglielmo Cortese, Ridolfo del Ghirlandaio, and Giacomo Bellotti
This year's theme of the online lectures and events organized by the Italian Chapter of the Society for the History of Collecting is "Exploring Venice". Attendance to lectures is free. For further information and to register please visit:... more
This year's theme of the online lectures and events organized by the Italian Chapter of the Society for the History of Collecting is "Exploring Venice". Attendance to lectures is free. For further information and to register please visit: https://societyhistorycollecting.org/news-and-events/events/.
The Steering Commitee of the Italian Chapter of the Society for the History of Collecting: Ginevra Odone & Pier Ludovico Puddu (Heads), Sarah Coviello, Luca Giacomelli, Claudio Gulli, Alice Legé, Valeria Paruzzo, Giuseppe Rizzo.
The Steering Commitee of the Italian Chapter of the Society for the History of Collecting: Ginevra Odone & Pier Ludovico Puddu (Heads), Sarah Coviello, Luca Giacomelli, Claudio Gulli, Alice Legé, Valeria Paruzzo, Giuseppe Rizzo.