Patronage and collecting

La quarta esposizione del ciclo “Brera mai vista” (Milano, Pinacoteca di Brera, sala XXXIV, ottobre - dicembre 2002) ha presentato alcuni dei 61 bellissimi studi ad olio su carta del pittore milanese Francesco Londonio, entrati a far parte del patrimonio artistico dell'Accademia di Belle Arti nel 1836 grazie al lascito del nipote del pittore, Carlo Londonio.
La mostra ha offerto l’occasione di investigare alla luce di fonti e documenti inediti tanto la clientela di Londonio, anche sotto il profilo sociale e culturale, quanto la sua fortuna ottocentesca, ricucendo gli itinerari seguiti dal patrimonio di olii e incisioni lasciato in eredità dall’artista, di cui faceva parte il nucleo pervenuto alla Braidense. 
Dal catalogo emerge uno spaccato di interesse interdisciplinare sulla committenza e il collezionismo milanesi della stagione illuminista, dove Londonio si rivela il fulcro di un vivace crocevia di mercanti, letterati e collezionisti del Grand Tour.
In calce al catalogo si pubblica la prima genealogia della famiglia Londonio, ricostruita interamente sulla base di ricerche d’archivio di prima mano.

NOTA
Il libro ha due autrici: Cristina Geddo e Simonetta Coppa. Sono qui pubblicati solo i capitoli scritti e firmati da Geddo :
- "Intorno a 'Fran.co Londonio pittore'. Nuovi documenti sulla famiglia, l’artista e la sua eredità" (pp. 33-43, figg. 23-32);
- "Tavola geneaologica Londonio" (pp. 45-47).


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in «Notizie di pittura raccolte dal Padre Resta». Il carteggio con Giuseppe Ghezzi e altri corrispondenti, a cura di Maria Rosa Pizzoni, Roma, UniversItalia, 2018, pp. 107-128.
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Su padre Sebastiano Resta e Leonardo da Vinci si veda anche: https://www.academia.edu/49350830/_Vero_lume_il_Leonardo_e_i_Leonardo_di_padre_Resta

Foto: Berlinde de Bruyckere klassanalysen bort. Där har brandts profana humanism ting gemensamt med den kakonstens visuella kamp om på väggarna intill. Berlinde innerligt och sakralt erade manslik (2010) hamnar i fel hörn och lägger sig i stället norra Europas kroppsnära A f.frtr L^^-L.^#cr man n&nn Barock 2. Ny avhandling om Hedvig Eleonora I(onstdrottning. He dvig Ele onora var mecenat, samlare och byggherre E-isa Sl«ogh "Materia[ worlds. Queen Hedwig Eleonora as collector and patron of the arts (1636-1715)' l(ungti ga vetenskapsakadem ien Den relativt okända drottning Hedvig Eleo-:i:nora bär det tragiskt klingande epitetet "änkedrottningen". I Lisa Skoghs avhandling "Material worlds. Queen Hedwig Eleonora as collector and patron of the arts" framgår tydligt att "tragisk" är en missvisande beskrivning. 160o-talet var ett turbulent sekel för det svenska hovet. Den betydligt mer kända drottning lGistina abdikerade och flyttade till Italien 1654 (med viktiga delar av den svenska konstskatten). Hon efterträddes av sin kusin IGrl X, vars gemål Hedvig Eleonora av Holstein Gottorp var prinsessa i en tysk högkulturell adelsfamiu. Den ständigt krigande l(arl X dog efter bara sex år vid tronen. Hedvig Eleonora blev därför förmyndarregent fÖr sin son l(arl XI 1660-72 och efter hans död för barnbarnet Karl XII. Hon var också IGrl XII:s representant i Sverige under tälttågen fram till 1713. Hedvig Eleonora levde ett långt och kulturellt rikt liv. Hon hade det dittills bästa äktenskapskontraktet i Sveriges historia. Men att hon var änkedrottning giorde monarkin ömtålig och svag. Lisa Skogh [eder i bevis att Hedvig Eleonoras konstintresse hade en medveten politisk strategi, så kalllad conspicuous consumption, för att framhäva den svenska monarkin och sin egen roll som den perfekta änkedrottningen. Hennes största monument är lustslottet Drottningholm, som hon lät far och son Tessin bygga enligt samtida franskt mode. Trappan i fransk barockstil, med skulpturer av grekiska gudar och en överdi-"Hedvig Eleonora som konsternas beskyddare" -nytolkning av David K[öcker Ehrenstrahls målni ng. Foto: Nationatmuseum mensionerad-vapensköld, skickar än i dag en politisk signal om Svenges storhet och monarkin som iscensatt skådespel. Hennes paradsängkammare manifesterar troheten till den döde maken. Stotten var också basen för konstsamlingarna, där Gripsholms enorma porträttsamling är särskilt framträdande. Skogh går Eenom porträtten grundligt och hävdar, vilket är tänkvärt, att de har större politisk och kulturell betydelse än forskare tidigare ansett. Bilderna var en uppvisning av hennes fina stamtavla, stora kontaktnät #ffi Alltså: den svenska konstsamlingen hade funktionenavett grgantiskt Facebookkonto, somskulle framhävaHedvig Eleonoras persona ochimponerapå besökare. och släkt med kulturellt kapital. Många porträtt föreställer henne själv. Alltså: den svenska konstsamlingen hade funktionen av ett gigantiskt Facebookkonto, som skulle framhäva Hedvig Eleonoras persona och imponera på besökare. Samma funktion hade hennes stora samling exotiska foremål och hennes bibliotek. Genom historien har det ofta lagts större vikt vid manliga regenters konstsamlande och kulturintresse, och nästan inget skrivits om Hedvig-Eleonoras roll som byggherre, mecenat och konstsamlare. Inte heller om hennes politiska kunskap, ekonomi, förvaltning eller kontinentala nätverk. Forskare utgår oftast från hennes makes, sons och sonsons bedrifter. Lisa Skoghs avhandling är en imponerande studie om en drottning vars politiska betydelse negligerats. Dessutom sätts den svenska l600-talskonsten in i Nordeuropas kulturpolitiska sammanhang. Den berömde hovmålaren David I(öcker Ehrenstrahl porträtterade 1697 Hedvig Eleonora i guldbroderad sidenklänning med ett porträtt av [Grl XI, omgiven av allegorier för de olika konstarterna. Länge kal-Iades målningen "Allegori over Karl XI:s regenttid". Men på senare tid har historikern Fredric Bedoire föreslagit namnet "Hedvig Eleonora som konsternas bes §ddare". En alternativ historieskrivning där änkedrottningen är i centrum och målningen hyllar hennes persona, snarare än [Grl XI. Då liksom nu höll sig monarkin med en avancerad visuell apparat. Bilderna ett politiskt maktverktyg. I över 60 år var det Hedvig Eleonora som marknadsförde kungahuset och sig själv, och lämnade ett betydande kulturarv efter sig.

Edith Gregor Halpert (1900–70) and her Downtown Gallery are best known for introducing Jacob Lawrence and his now iconic Migration Series (1941) to a crossover audience. Lawrence and his aesthetics appealed intensely to Halpert because, like Lawrence, she was an American original.  Halpert’s formative years reveal similarities with Lawrence’s. Both came to New York City’s Harlem as children with their mothers and a sibling, both were precocious, hard- working, and idealistic; and both became extremely successful. Halpert’s success came from her savvy sensibility to expand and popularize American art with endless promotional schemes.

S tudies of sienese patronage during the first half of the fifteenth century generally revolve around institutions rather than private patrons. Usually, this lacuna is justified by the claim that in a strictly Republican regime no citizen was allowed to stand out by virtue of their artistic patronage. 1 Although broadly true, this assumption has been qualified and challenged by recent scholarship that has sought to identify private patrons lurking behind, if not openly paying for, many of the artistic commissions within the city. 2 This article develops this recent trend by identifying two homonymous patrons who happened to live around the same time. They commissioned works from Sano di Pietro and Vecchietta, and were part of social circles whose importance for the arts in Siena cannot be underestimated. They were both called Jachomo d'Andreuccio. The name is found in a number of Sienese documents published by Gaetano Milanesi, and subsequently, as indicating a goldsmith active in quattrocento Siena called Jachomo d'Andreuccio del Mosca. 3 In 1907 Paul Schubring claimed that this Giacomo d'Andreuccio was the same man who commissioned an altarpiece from Vecchietta (Fig.3), which bears 1. Birth of the Virgin, by Sano di Pietro. 1448-52. Tempera and gold on panel, 31.8 by 47.2 cm. (University of Michigan Museum of Art, Ann Arbor). 2. Presentation of the Virgin at the temple, by Sano di Pietro. 1448-52. Tempera and gold on panel, 31.5 by 47.5 cm. (Pinacoteca Vatican, Rome).

The thesis presents an interdisciplinary research on the corporate instrumentalization of art, as well as on the formation of art historical narratives regarding art in corporate context. The first chapter gives an overview of the history and the discourse around art related corporate activities and corporate art throughout the 20th Century. The next chapters offer close readings of three seminal works of corporate commissioned art and their discursive canonization through the medium of text. These are: Museum for the Workplace: Portrait of a Working Community (1995) by Clegg & Guttmann for the DG BANK headquarters in Frankfurt; A Project in Two Phases (1994-1995) by Andrea Fraser for the Viennese art exhibition space of insurance company EA-Generali; and an untitled installation (2004) by Maurizio Cattelan for the temporary appropriation of a Milanese city square by luxury brand Trussardi. Through their variation in kind (office floor, gallery setting, public space), country (Germany, Austria, Italy), genre (participatory art, institutional critique, public installation art), and institutional agenda (presentation as democratic, presentation as self-critical, promotion through stealth marketing), they allow for the critical discussion of a broad spectrum of issues around art related corporate activities and corporate art. A close and critical reading of both primary and secondary sources, the comparison of insights won from a thorough analysis of the respective corporate processes with the critical close reading of the texts produced to promote and disseminate the works, uncovers the blind spots and hidden agendas which inform art historical canonization of corporate (commissioned) art.

complete thesis http://dare.ubvu.vu.nl/handle/1871/55979

Die Leidenschaft und der Sozialcharakter des Sammlers sind, um es mit Walter Benjamin zu sagen, nicht mehr diejenigen des Kindes. Das bürgerliche Stadthaus als Ort “fremder”, durch Erwerb und Auswahl angeeigneter Kunstobjekte bietet eine symbolisch geordnete, kunstvoll erfundene Welt der Erwachsenen, die von unstillbaren Sehnsüchten durchdrungen bleibt. Hier kommen Aspekte bürgerlicher Utopie zum Tragen – einer Utopie, deren finale Wunschvorstellungen von Vollständigkeit und Heilung zugleich auch zum Scheitern verurteilt sind. Die scheinbare Rationalität der wohlstrukturierten Ausstellung enthält immer auch einen romantischen “Wahn”, als welche Benjamin das Paradoxon des letztlich unproduktiven Hortens von Kulturgut pointiert apostrophierte. Der sammelnde Bürger ist in dieser Perspektive zugleich individualisiert und “transzendental obdachlos”, sein Verhältnis zu den Objekten gleicht einem hermeneutischen Zirkel, der sich nicht widerspruchslos auflösen lässt. Diese durch und durch widersprüchliche Prozesshaftigkeit zu erkennen, wird auch für die Selbstreflexion einer zeitgemäßen musealen Präsentation ein zentrales Momentum sein, will diese nicht als rein antiquarischer Gestus begriffen werden.

Guglielmo Achille Cavellini (Brescia 1914 - 1990) costituì una delle più importanti collezioni italiane d'arte contemporanea; continuamente aggiornata ad iniziare dagli anni Cinquanta, dalle tendenze astratte europee fino  alla New York School (Kline, Tobey, Rauschenberg),  alla pop art italiana,  inglese e americana ( Warhol, Dine, Wesselmann) e agli esordi dell'Arte Povera italiana degli anni Settanta

This paper explores First Lady and Art Patron Jacqueline Kennedy's historic and scholarly restoration of the White House – an act that is considered her greatest legacy during her husband's short-lived presidency. Mrs. Kennedy's restoration process – which involved collecting artworks and antiquities – gave the White House a museum-like quality, which reflected America's history and former presidents.

[SLO] Zaključna seminarska naloga se ukvarja z motivom Poslednje sodbe v staronizozemskem slikarstvu, osredotoča pa se na naročnike in najrazličnejše povode, ki so botrovali njihovi izbiri umetnikov in ikonografskega programa. Motiv Poslednje sodbe snov za upodabljanje jemlje predvsem iz Razodetja evangelista Janeza, način upodabljanja pa se je tekom časa spreminjal. Čeprav je Poslednja sodba kot ikonografski motiv v krščanski sakralni umetnosti v bolj ali manj kompleksni obliki prisotna že od vsega začetka, je zanimanje zanjo v 15. stoletju znova vzniknilo. Naročanje je bilo vezano na novonastali družbeni sloj meščanstva, predvsem trgovcev in dvornih birokratov, ki sta jih v naročanje med drugim vodila tudi za izbrano obdobje specifično doživljanje človeškega življenja, greha, krivde in poslednjih stvari ter vpliv zasebne pobožnosti in nadnaravnih vizij.

[ENG] The present BA thesis focuses on the motif of the Last Judgement in Early Netherlandish painting, with special attention paid to patrons and the possible reasons for their choosing of a particular artist and iconographic program. The Last Judgement motif is based on the Apocalypse of John the Evangelist; however, its representations have changed significantly over the course of time. Even though the Last Judgement as a motif has been present in Christian sacred art since the very beginning, it saw a remarkable spike of interest in 15th century. Commissions were tied to the newly established social class of early bourgeoisie, especially merchants and court bureaucrats, who were as patrons heavily influenced by the contemporary experience of the human life, sin, guilt and the last things, as well as private devotion and otherworldly visions.

This article examines the Domine, Quo Vadis? painting by Annibale Carracci (1560–1609) that hangs in the National Gallery, London. Painted between 1601–1602, the panel depicts the apocryphal encounter between Christ and St Peter on the Appian Way, as the latter flees from persecution by Nero’s guards in Rome. Peter asks Christ, ‘Master, where are you going?’, to which Christ responds, ‘I am going to Rome, to be crucified anew’. Following the apparition, Peter turns back and sacrifices himself instead. Carracci diverges significantly from the traditional artistic renderings of the incident, both in terms of narrative strategy and scenic composition. It will be argued that his treatment of the subject can be interpreted as a direct address to the patron of this work, Cardinal Pietro Aldobrandini (1571–1621). Playing upon the moral underpinning of the subject, Carracci devises an innovative composition that is tailored to stimulate personal introspection in the Cardinal. However, the piece performs the equally important function of projecting outwards the powerful and learned status of its owner. Carracci’s work flatteringly implies an erudite patron through its overt references to Raphael, Michelangelo and the ancient past of Rome. The approach of Raphael in particular to classical antiquity was admired by Cardinal Aldobrandini and his personal secretary, Giovanni Battista Agucchi (1570–1632). The idealising classicism of his late career earned Carracci the praise of Agucchi, whose role in shaping the taste of the Cardinal must be acknowledged. The Domine, Quo Vadis? fulfils Agucchi’s desire that artists should have an idea of things ‘not as they are, but as they ought to be’. Carracci also inserts a fictive paesaggio classico into his Domine, Quo Vadis?. This emerging Seicento pictorial type, to which Cardinal Aldobrandini was especially partial, is the final confirmation of a work destined unmistakably for a unique audience.

accompanying catalogue (Jordan 1985), the first study of Spanish still life in English, incorporated new archival research that challenged previous assumptions of humbleness and asceticism, placing Spanish still life in the context of the period's nascent naturalism and the patronage of educated elites. The catalogue's two influential essays by Jordan (Jordan 1985, cited under Overviews) and Schroth (Schroth 1985, cited under Patronage and Clientele), its detailed introductions to the featured artists, and the extensive and rigorous catalogue entries are still essential for anyone studying Spanish still life. Building upon and expanding the scope of Jordan 1985, Spanish Still Life from Velázquez to Goya (Jordan and Cherry 1995) at the National Gallery in London brought to light new works and renewed attention to issues such as taste and natural history in the excellent introductory essay Jordan and Cherry 1995, cited under Overviews). The catalogue for Flores españolas del siglo de oro (Calvo Serraller 2002) at the Prado Museum is relevant for being the only study focused specifically on flower painting. Although not devoted entirely to still life, two more recent exhibitions are remarkable for placing Spanish still life in broader contexts: El Greco to Velázquez (Schroth and Baer 2008) at the Museum of Fine Arts in Boston situates Spanish still life within the reign of Philip III and practices of collecting and display within the aristocratic household, and In the Presence of Things (Carvalho Dias and Cherry 2010) at the Calouste Gulbenkian Museum in Lisbon (curated by Peter Cherry) places Spanish still life within the broader European context, where it emerges as a major player. Pérez Sánchez 1983, Jordan 1985, Jordan and Cherry 1995, and Schroth and Baer 2008 also discuss bodegones with figures. Exhibitions on individual artists are discussed under other headings. Calvo Serraller, Francisco. Flores españolas del siglo de oro. Madrid: Museo Nacional del Prado, 2002.

The works of the impressionist painter Ivan Grohar (1867−1911) are among the greatest masterpieces of Slovenian art and are important landmarks of Slovenian painting. Thee fact that some of his most re-nowned paintings, displayed today in the permanent collection of the National Gallery in Ljubljana, have a common provenance excites art historians’ curiosity. In 1926, when the first retrospective exhibition of Grohar’s work was held, these paintings (and some of Grohar’s other works) were in the possession of Franc Dolenc from Stara Loka near Škofja Loka (1869−1938). Scholarly literature on Ivan Grohar often mentions this timber merchant and industrialist as the painter’s patron and benefactor. According to some scholars, Grohar lived at Dolenc’s Štemarje Hotel in Škofja Loka from 1904 until 1910 or 1911. However, Dolenc did not buy the Štemarje Hotel until February 1908 and he leased it in June of the same year. It is also impossible to confirm Grohar’s stay at the Štemarje Hotel during the winter of 1908−1909. It has been established that he spent the winter of 1909−1910 in a rented room owned by Anton Kašman in Škofja Loka, who evicted him with his paintings in spring 1910. By November 1910, Grohar had actually moved to the Štemarje Hotel. However, in February 1911, he was admitted to the Ljubljana hospital and he died of tuberculosis two months later. His death certificate states that at the time of his death he was living at Franc Dolenc’s Štemarje Hotel in Škofja Loka, and only a few weeks later Dolenc claimed an unsettled debt of nearly 1,118 crowns, which was almost a third of the entire sum that Grohar owed to nine creditors altogether. The artist’s legacy consisted mainly of paintings, but hitherto it was difficult to research their fate because the legacy records are incomplete and the inventory with the legal valuation of the paintings could not be found. For this reason, it has been suggested that Dolenc might had acquired some of the paintings he possessed in 1926 before Grohar’s death. However, Grohar’s newly discovered estate inventory reveals that Franc Dolenc never purchased a single painting by Grohar before 1913. He also could not have obtained all of them as a debt settlement because the legal value of the paintings in question (2,475 crowns) was more than twice the amount of his claim. Thus, it can be assumed that between 1913 and 1926, this shrewd merchant invested his claimed debt together with an additional amount into an exquisite collection of paintings. With regard to Grohar’s stay at the Štemarje Hotel, this can be confirmed for only a short period before he entered the hospital. The answer to how he accumulated such a debt to Dolenc is hidden in a tiny notebook of Grohar’s, which contains a list of his creditors. Among them, Franc Dolenc is indicated with a substantial amount. Therefore, the debt he claimed after Grohar’s death originated in loans that were later settled through a legal process. This debt and the ownership of Grohar’s paintings enabled Dolenc to pass for the artist’s benefactor and patron, and this image was hitherto fostered not only by local tradition, but also by Slovenian art historians.

Otta vioVannini, 1635 'Lorenzo de' Medici among the artists in the sculpture garden' Palazzo Pitti, Florence The purpose of this essay is to assess Lorenzo de Medici's role as a patron of the arts during the time that he ruled over the city of Florence. However, no research would be complete without a brief analysis of the social and historical context of the period and the evolution of the role play ed by patronage.

Reflections on the art market and cultural value in the light of Leonardo Da Vinci’s "Salvator Mundi", recently sold at auction. This reading explores materialist and capitalist issues alongside the spiritual and aesthetic dimension of painting and sculpture. A grotesque interpretation reveals the double standards that dominate collecting, patronage, and the contemporary arts scene.

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In May 1936 the steamship Sorrento sailed into the port of Piraeus, Greece. Aboard were sixteen crates with 452 items of Chinese pottery, destined to join another 341 already on display at the Benaki Museum in Athens. Over the past nine years the museum’s founder, Antonis Benakis, had been in contact with their donor, Greek-origin British businessman George Eumorfopoulos. His Chinese art collection was one of the most extensive the world had ever seen. In bestowing this gift, Eumorfopoulos wanted to introduce Greeks to the art of China through its best-known medium at the time, ceramics.

The years after the collapse of the Qing dynasty in 1911 witnessed an ‘opening up’ of China and the first archaeological excavations of its ancient cultures. A circle of enthusiasts and scholars, among which Eumorfopoulos was pivotal, grasped the opportunity to evaluate anew long-held preconceptions on Chinese civilisation. Situated in London, a centre of imperialist power and global finance, they acquired, assessed, and interpreted previously-unseen and fascinating objects. In addition, Eumorfopoulos acted as an intermediary between the contemporary art scene and Chinese antiquities, inspiring modern artists and ‘studio potters’.

China Rediscovered: The Benaki Museum Collection of Chinese Ceramics traces the roles ceramics assumed in this cultural interplay within the context of earlier encounters between China and the rest of the world. A selection of 88 items from the Benaki Museum are perceived as ‘actors’ within constantly evolving ‘sets’, as players in a game of knowledge, taste, and power.

https://www.benakishop.gr/en/books/world-cultures/china-rediscovered-the-benaki-museum-collection-of-chinese-ceramics-387.html
https://www.hauspublishing.com/product/china-rediscovered/

The paper makes inquiries into the ‘Russian period’ (1965-1972) of prof. Franco Miele (1924-1983), who was a painter, art critic and art dealer. The paper sheds light on his work as a Russian art dealer and on his relationships with Paul Sjeklocha, Ely Bielutin, Otari Kandaurov, Kazimierz Romanowicz, and George Costakis.

Il presente volume contiene gli atti del convegno tenutosi a Trento e a Rovereto il 3 e il 4 maggio 2013, curato da Stefano Ferrari e organizzato dalla Società di Studi Trentini di Scienze Storiche e dall'Accademia Roveretana degli Agiati. La pubblicazione esce con il sostegno economico della Regione Autonoma Trentino-Alto Adige/ Südtirol, del Comune di Mezzocorona e della Società Cooperativa Agricola Cantine Mezzacorona. Le raccolte di Minerva : le collezioni artistiche e librarie del conte Carlo Firmian : atti del convegno : Trento-Rovereto, 3-4 maggio 2013 / a cura di Stefano Ferrari. -[Trento] : Società di studi trentini di scienze storiche ; [Rovereto] : Accademia roveretana degli Agiati, 2015. -317 p. : ill. ; 24 cm. -(Monografie. Nuova serie ; 6)