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2015, KUR - Kunst und Recht 17 (2015), 3/4, p. 92-100
On the basis of an export license for a picture of Vicenzo Camuccini from Rome to Naples the author will show some aspects of the exportation of cultural property out of Rome in the year 1818
Just around the turn of the century, the desire on the part of wealthy American and European collectors for Italian art was exorbitant. Operating out of Florence, the dealer Stefano Bardini (1836-1922) succeeded in matching that demand by stocking collections with ample quantities of high quality supply. Moreover, Bardini deftly cultivated a taste for certain kinds of objects which have since moved into public view in museums around the world. However, as far as the Americans were concerned, Italian art of the Trecento was not especially the objects of desire. On the basis of much newly discovered archival material concerning transactions of art from ca 1870-1900 it can be demonstrated that the transatlantic market was ripe for specifically art of the late fifteenth century, that is, for objects which evoked of the age of Lorenzo the Magnificent. This paper examines this phenomenon, the possible reasons behind it, and how Bardini effectively exploited these conditions. In addition, using a case study which involves Bardini, Wilhelm Bode (1845-1929) and the Bostonian Quincy Adams Shaw (1825-1908) it can be demonstrated that this was the generation that refined the relationships among the collector, the dealer and the academic expert/connoisseur. The result was the birth of the business model upon which the younger Bernard Berenson (1865-1959) would build his career. Moreover, as a complex transatlantic synergy, it ultimately provided the very impetus required for Italian trecento art to enter mainstream American collecting and academic discourse in the early twentieth century.
Faenza
Vincenzo Funghini and the International Collecting of Italian Maiolica in the Nineteenth Century2020 •
Over the course of 40 years, Vincenzo Funghini (1828-1896) accumulated a wide range of maiolica objects that are now treasured in many private and public collections. Born in Castiglion Fiorentino, in Arezzo's district, Tuscany, Funghini was an engineer, architect and archaeologist that became one of the most important nineteenth-century collectors and antiquarians of Italian maiolica. During his lifetime, he published texts related to his collections including a booklet accompanying the national industrial exhibition in Milan of 1881, where he showcased 72 items from over 4000 examples of his prehistoric weapons. On the subject of Italian ceramics, he wrote about the Medici porcelain to provide a context for two treasured pieces from his collection. In response to publications by Federigo Argnani, Funghini published also on the maiolica production in Cafaggiolo, Mugello and Faenza, at that time thought to be the most significant ceramic centres in Italy of around 1500. To this list of writings, it is important to add the twenty-five diaries preserved in the State Archives in Arezzo. In large part unpublished, the volumes provide invaluable information for the analysis of the life of the collector. In this article I will briefly reconstruct Funghini's approach to his collection, as seen through the lens of his personal accounts. Subsequently, I will focus on his contacts with international collectors. These diaries inform our understanding of the appreciation for Italian Renaissance maiolica across Europe in the second half of the nineteenth century.
2022 •
Gustavo Giovannoni e l’architetto integrale convegno internazionale
Giovannoni’s Politically and Culturally Controversial Legacy / Francesco Moschini, Giuseppe Bonaccorso2019 •
The origins of the interest in collecting and studying the Italian Primitives are illustrated in this paper. The phenomenon is traced from the scholarly inspiration developed in Italy, among experts and clergymen, in the second half of the 18th century to the end of the Napoleonic era. The interaction of scholars, collectors, connoisseurs and dealers during the Enlightenment and their overlapping roles created the conditions for the growth of such interest. As this small circle of art lovers and dealers can be identified as an international scientific community, examples of early collectors are provided in various Italian States, England, France and Germany.
Zeitschrift für Kunstgeschichte
Carlo Antonio and the bottega Procaccini2020 •
This study investigates the career of Carlo Antonio Procaccini, a member of one of the most prominent artistic families of the early Italian Seicento. Together with his brothers Camillo and Giulio Cesare, he was instrumental in establishing a famous workshop in Milan playing a fundamental role in the artistic renovation of the Borromean era: one of the most fascinating periods in Lombard history. Celebrated by seventeenth century sources, Carlo Antonio’s career has been largely underestimated. The essay re-affirms his legacy as the most important North Italian landscape painter of the first three decades of the seventeenth century, highlighting how his art thrived in the uniqueness of the Milanese artistic environment, characterised by prosperous economy, post-Tridentine reform, Spanish patrons, links with northern Europe and artistic eclecticism.
Artistic and Architectural Heritage of the Nobility Between Old and New Regimes (=ACTA HISTORIAE ARTIS SLOVENICA 28|2• 2023)
Ca’ Rezzonico in the 19th Century: The Dispersal of its Collections and the New Uses of the PalaceIn the wider phenomenon of the reception and readaptation of aristocratic architectural heritage in post-revolutionary Europe, the repurposing of former aristocratic palaces in Venice after the Fall of the Serenissima in 1797 constitutes a preeminent example. The paper takes as a case study Ca’ Rezzonico, one of the most splendid palaces along the Grand Canal, which has housed, since 1936, the illustrious Museum of 18th-century Venice (Museo del Settecento veneziano). After the Rezzonico family died out in 1810, the palace was gradually stripped of its art historical treasures and has served the most diverse purposes. From being the seat of the Austrian Tobacco Administration to housing dealers’ galleries, from hosting the ateliers of stage designers and international painters to being the home of renowned intellectuals and aesthetes, Ca’ Rezzonico’s rooms and walls have witnessed the profound changes in art, taste, and culture that rang through Europe during the long 19th century. The paper offers a comprehensive reconstruction of the palace’s 19th-century history, drawing from both published and unpublished sources.
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