{"id":6129,"date":"2012-05-24T13:51:57","date_gmt":"2012-05-24T13:51:57","guid":{"rendered":"http:\/\/www.carlovirgilio.it\/mostra\/quadreria-2001\/"},"modified":"2017-05-25T10:57:47","modified_gmt":"2017-05-25T08:57:47","slug":"quadreria-2001","status":"publish","type":"mostra","link":"https:\/\/www.carlovirgilio.it\/en\/mostra\/quadreria-2001\/","title":{"rendered":"Quadreria 2001"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]No Longer a Terra Incognita in American Collections<\/strong><\/p>\n

“Those new regions [America] which we found and explored with the fleet…we may rightly call a New World.” Amerigo Vespucci, letter to Lorenzo di Pier Francesco de’ Medici, 1503<\/p>\n

Since the end of the 19th century and early decades of the 20th, Americans, both private individuals and public institutions, have been avid collectors of Italian paintings and drawings. The general enthusiasm for Italian art tended to cease, however, with the two Tiepolo, Canaletto, and the elder Guardi, together with Piazzetta and Piranesi, who were viewed as the coda to the grand tradition of Italian art. Occasionally, works by other figures like Cades, Ubaldo and Gaetano Gandolfi, and Bison were used to illustrate the denouement of the Italian school.
\nBy and large Americans considered Italian artists operative between 1790 and 1910, if they focused on them at all, the poor cousins of their American, English, and French contemporaries. On the other side of the great divide, the Futurists and Balla as a Futurist and not a Divisionist, were enthusiastically collected. Their popularity most likely stemmed from their avant garde aesthetic linked to Cubism and the controversial 1913 Armory Show (International Exhibition of Contemporary Art) in New York City, despite the fact that the Futurists ironically were omitted from this seminal exhibition. There are, of course, other\u00a0 exceptions to the prevailing rule, such as Morandi, whose works American have always prized. Nevertheless, earlier in the 20th century, American interest in Italian art bracketed, like book ends, the period represented by the classicizing and academic examples in this exhibit at the Galleria Carlo Virgilio.
\nNaturally, there are exceptions to this generalization, and one could point to incidental jewels or sporadic caches of works in American collections. But even these were under appreciated. It was during the 1950s that scholars, collectors, and museum personnel began to explore this terra incognita\u00a0more fully. The result is that today American collecting of Italian art no longer stops with Mauro Gandolfi and jump starts with Balla.<\/p>\n

It is no wonder that the art of the period in question was not more accessible to Americans.\u00a0 In post-Napoleonic times, the Italic peninsula was again divided regionally, fraught with political instability lasting until after Italy’s unification as a country in 1870. Works by most Italian artists remained in regional contexts, widely unknown on the international art scene. Further, many artists were engaged in Risorgimento struggles to the detriment of their artistic careers. Few traveled, although there were exceptions like Costa, an impassioned patriot and revolutionary macchiaolo, who from mid-century encouraged an open door policy and worked closely with English artists in the Roman Compagna, later traveling to Paris and London where he continued to exhibit. Costa also campaigned for the artistic renewal of Rome, which despite political upheaval was an exciting artistic center until Paris usurped its position in mid-century. In the wake of the Grand Tour phenomenon, Rome had remained a place stimulated by international exchanges intimated in the works of foreign artists. It was a veritable melting pot where Ingres and Wicar worked alongside Palagi, Tischbein, and Angelica Kauffmann to reveal the importance of the academically trained artist who formed the backbone of artistic production in Italy. Again at end of the century, after unification and with the emphasis on “Roma capitale”, Rome became a Mecca for artists. A case in point is Vedder, who settled permanently in the Eternal City in 1867, dying there in 1912. His fin de si\u00e8cle blend of Symbolism, “Liberty” style, and mysticism is claimed by Americans and Italians alike.<\/p>\n

Giovanni Piancastelli – a painter who attended the Accademia di San Luca and who was in the service of the Borghese family, becoming Director of the Museo and the Galleria Borghese when the collection was acquired by the state in 1899 – played a critical role in the dissemination of Italian drawings of this period in the United States. Although he amassed a vast compilation of Italian drawings from every period, he was an avid collector of the epoch in question. The fate of his collection, some of which remains in Italy (i.e., in Forl), occupied a pivotal place in the history of American collecting.<\/p>\n

Other early exceptions to the rule about Americans not collecting Italian art of this period were the Hewitt sisters, Sarah and Eleanor, of New York City. Through their agent, the novelist E. Marion Campbell, they purchased approximately 3,620 drawings from Piancastelli in 1901, selecting those most suitable for the museum of decorative arts and architecture which they planned (the Cooper-Hewitt Museum). One of the large blocks of drawings they acquired were the c. 1,000 sheets by the wonderfully inventive artist Giani and members of his circle.<\/p>\n

Another American collector linked to Piancastelli was Mary Brandegee, who together with her husband Edward D. Brandegee of Brookline, Massachusetts, purchased around 8,663 drawings in 1904. They acquired those which the Hewitts did not deem appropriate to their mission. In 1938 the Brandegee estate offered the Cooper-Hewitt the option to acquire the majority of its holdings (c. 8,200 sheets) in order to reunite the Piancastelli Collection.
\nThis group of approximately 12,457 drawings now forms the nucleus of the drawing collection of The Cooper-Hewitt National Design Museum, Smithsonian Institution in New York. Nonetheless, the famous MB collectors mark is encountered on large numbers of drawings in other collections, such as Bibiena sheets formerly belonging to Janos Scholz, and other works still in circulation on the market.<\/p>\n

Scholz, another American (Hungarian by birth) who collected this period, is thought to have owned at least 1,000 drawings with a Brandegee provenance gathered during the middle decades of the Novecento. His interest in the period sprang from his enthusiasm for Settecento Italian drawing and an insatiable interest and curiosity in expanding his horizons.
\nRepresenting a logical progression in taste, neoclassical Italian art, abutting the late Settecento, was the first segment to be unanimously embraced by scholars, collectors, and the public at large. Its firm acceptance into the canon of collecting resulted from several exhibitions in the 1960s and 1970s that stressed the international character of Neoclassicism, as seen in works by Tofanelli and Kauffmann.<\/p>\n

Nearly all Americans who have collected Italian art of the period have fallen under the spell of Italy, especially that of Rome with its history and archaeology, its mythology and literature, and its endless beauty and intellectual treasures. During the 1950s much of the collecting activity stemmed from a group of scholars and museum people who were centered at the American Academy in Rome. One of the most influential figures was Anthony M. Clark, who first at the Rhode Island School of Design, then at the Minneapolis Institute of Arts, and later at the Metropolitan Museum of Art, pushed the boundaries of collecting further into the 19th century, acquiring capolavori for his institutions and illuminating works for his own collection. John Maxon of the Art Institute of Chicago was another individual who used the late 18th-century as a diving board to enter the waters of the subsequent century for his institution and his own collection.<\/p>\n

In turn, these individuals encouraged other collectors, scholars, and students toward a later taste. Like dropping a pebble into a pool, their enthusiasm spread to their acquaintances in ever widening circles. For example, Frederick Cummings, as director of the Detroit Institute of Art and as a private individual, made pioneering acquisitions. Museum organized exhibitions and published catalogues in English on the era during the 1970s, 1980s (one addressing drawings of the period opened at the National Gallery of Art and another on the Macchiaioli was held at U.C.L.A.), and 1990s (one on Italian painting began at the Walters Art Museum), continuing to open up the field for U.S. collectors. To date, there have been few monographic exhibitions, although the Stanford University Museum of Art organized one on Duranti in 1975, and commercial galleries have mounted a handful, such as on Sartorio (1970), Hir\u00e9my-Hirshl (1984), and Gemito (2000).<\/p>\n

Scratch the surface of the history of U.S. collecting, and it would be apparent that museums and private collectors had acquired works from the period since the latter 19th century, long before 1950. Only a few artists were collected consistently, such as Pinelli, the illustrator and inveterate chronicler of Roman life. One encounters examples by Pinelli everywhere, for example in a group of early preparatory drawings in the E.B. Crocker Museum in Sacramento, acquired in 1871. Many travelers to Italy purchased works that reminded them of their travels. A case in point is Catherine Lorillard Wolfe, who in 1887 donated several of these watercolours to the Metropolitan Museum of Art, while a large group of vedute and travel-oriented works are in The George Walter Vincent Smith Art Museum. Before the 1920s, William F.E. Gurley and Leonora Hall Gurley of Chicago collected late 18th-century Italian art, while in the 1960s Mrs. George B. Young also gave drawings to Art Institute of Chicago. Frank Jewett Mather donated others to The Art Museum, Princeton University. A survey of American institutions reveals Ottocento works throughout the country, from Boston and Baltimore (notably the Robert Gilmor Collection) to Dayton and San Francisco (a stunning oil sketch by Favretto, acquired in the 1950s). In addition, many collections generally rich in 19th-century art, like the Sterling and Francine Clark Art Institute or The Brooklyn Museum, by extension also own Italian examples from the era. In addition, museums connected with academically oriented art schools, like RISD and the Pennsylvania Academy of the Arts, should be mentioned. Prior to the 1950s, however, many of these acquisitions were gifts or bequests, and in general these holdings can be best characterized as “episodic.”<\/p>\n

Among the 20th-century private collectors in the vanguard of this interest are several singular categories of individuals who did not just extend their interest in Settecento art. The first is comprised of Italo-Americans who maintained connections with their Italian heritage via art. A noteworthy case is the heir of a family who once owned hundreds of works by Minardi. Equally fascinating are the descendants of Arturo Toscanini who possess works of art, most from the last half of the Ottocento, which once belonged to the famous conductor. The second category includes collectors, like Benjamin Sonnenberg, who purchased works by Ottocento artists who are associated with other schools, such as Boldini, a figure long included in the de rigeurer list to own due to his lengthy Parisian career.<\/p>\n

Currently, a group of living collectors are seriously acquiring Italian art of the period. Some focus only on 18th-century and neoclassical art; the majority collect art of some part of the period under consideraton from various schools. Yet few collectors still single out the Italian school of this period with the goal of gathering fine examples by all available artists.
\nInstitutions, dependent on curator taste and mission, are now actively acquiring major Ottocento works by purchase rather than primarily by gift, resulting in a feeling that the period is coming of age. In recent decades Jacob Bean of the Metropolitan Museum of Art branched into the early Ottocento. The constellation of museums making acquisitions in the area includes the National Gallery of Art and the Philadelphia Museum of Art, the recipients of Clark’s private collection. Recently, the J. Paul Getty Museum acquired in auction the pastel of 1877 by Michetti inscribed “Scherzo,” while the Yale Art Museum purchased a large neoclassical sheet by Pinelli. A more specifically oriented acquisition is the large historical drawing of Cincinnatus funded by the Cincinnatus Society for the Cincinnati Museum of Art. Nevertheless, donors continue to offer works by Italian nineteenth-century artists to museums in greater numbers, such as in the bequest of Bernice Davidson to the Fogg Art Museum.<\/p>\n

These impressionistic comments only begin to suggest the complex paths taken by American collectors who are continuing to discover this new world of Italian art.<\/p>\n

di Roberta J. M. Olson<\/em>
\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

Bibliografia<\/h2>\n

[\/vc_column_text][vc_separator color=”custom” accent_color=”#284d5c”][vc_tta_accordion active_section=”-1″ collapsible_all=”true”][vc_tta_section title=”A” tab_id=”1493371899401-4e2e6439-9734″][vc_column_text]Ackerman 1986<\/strong>
\nG. M. Ackerman
\nThe Life and Work of Jean-L\u00e9on G\u00e9r\u00f4me with a catalogue raisonn\u00e9<\/em>
\nLondon, 1986<\/p>\n

Angeli 1914<\/strong>
\nD. Angeli<\/em>
\nin XI Esposizione Internazionale d\u2019Arte della citt\u00e0 di Venezia
\nVenezia, 1914<\/p>\n

Angeli 1930<\/strong>
\nD. Angeli
\nCronache del Caff\u00e8 greco<\/em>
\nMilano, 1930[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”B” tab_id=”1493371899455-91e79e5b-4cf6″][vc_column_text]Baumg\u00e4rtel 1998<\/strong>
\nAngelika Kauffmann<\/em>
\ncatalogo della mostra di D\u00fcsseldorf a cura di B. Baumg\u00e4rtel
\nOstfildern\/Ruit, 1998<\/p>\n

Beaucamp 1939<\/strong>
\nF. Beaucamp
\nLe peintre lillois Jean-Baptiste Wicar (1762-1834). Son oeuvre et son temps<\/em>
\nLille, 1939<\/p>\n

Benzi 1986<\/strong>
\nF. Benzi
\nL\u2019attivit\u00e0 pittorica in Bertoni<\/em>
\n1986 \u2013 pp.123-142<\/p>\n

Bernini Pezzini 1988<\/strong>
\nG. Bernini Pezzini, Max Roeder<\/em>
\nin Gruppo Romano Incisori Artisti 1921<\/em>, catalogo della mostra
\nRoma, 1988 \u2013 pp. 104-107<\/p>\n

Bertini Calosso 1933<\/strong>
\nMostra delle pitture di Giulio Aristide Sartorio nella Regia Galleria Borghese<\/em>
\ncatalogo della mostra a cura di A.Bertini Calosso
\nRoma, 1933<\/p>\n

Bertoni 1986<\/strong>
\nErcole Drei scultore. 1886-1973<\/em>
\ncatalogo della mostra di Faenza a cura di F.Bertoni
\nImola, 1986<\/p>\n

Bistolfi 1913<\/strong>
\nG. Bistolfi
\nIl poeta dell\u2019ombra dorata<\/em>
\nin \u201cNoi e il mondo\u201d<\/em> III
\n1913 \u2013 1, p. 56-60.<\/p>\n

Bezzuoli 1855<\/strong>
\nDella vita e delle opere del professore Cav. Giuseppe Bezzuoli (\u2026). Memorie raccolte da alcuni scolari e amici<\/em>
\nFirenze, 1855<\/p>\n

Boase 1947<\/strong>
\nT. S. R. Boase
\nIllustrations of Shakespeare\u2019s Paly\u2019s in the Seventeenth and Eighteenth Centuries<\/em>
\nin \u201cJournal of the Warburg and Courtauld Institutes\u201d<\/em>
\nT.X 1947 \u2013 pp.83-108.<\/p>\n

Bock 1986<\/strong>
\nH.Bock
\nEin Bildnis von Prinz Heinrich Lubromirski al Genius des Ruhmes von Elisabeth Vig\u00e9e-Lebrun<\/em>
\nin \u201cJahbuch Pressuischer Kulturbesitz\u201d
\n1986 \u2013 n.XXIII, p. 85.<\/p>\n

Boisclair 1986<\/strong>
\nM. N. Boisclair
\nGaspard Dughet. Sa vie et son \u0153vre (1615-1675)<\/em>
\nParis, 1986<\/p>\n

Breda 1994<\/strong>
\nR.Breda
\nL\u2019opera pittorica di Giovan Battista Crema. Contributo alla definizione di un catalogo generale<\/em>
\nprefazione di L.Scardino, note biografiche di S.Crema
\nRoma, 1994[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”C” tab_id=”1493372230806-27d51e8d-4b84″][vc_column_text]Caira Lumetti 1990<\/strong>
\nR. Caira Lumetti
\nLa cultura dei Lumi tra Italia e Svezia. Il ruolo di Francesco Piranesi<\/em>
\nRoma, 1990<\/p>\n

[Cant\u00f9] 1838<\/strong>
\n[C.Cant\u00f9]
\nLe glorie delle belle arti esposte nel Palazzo di Brera in Milano nell\u2019anno MDCCCXXXVIII\u00b8 A.XII 1838<\/em>
\nMilano, 1838<\/p>\n

Cataldi Villari 1987<\/strong>
\nGiulio Aristide Sartorio. Immagini dell\u2019Agro Pontino<\/em>
\ncatalogo della mostra a cura di F.Cataldi Villari
\nRoma, 1987<\/p>\n

Centi 1982<\/strong>
\nPalazzo Brancaccio Inizio di una ricognizione: i materiali dell\u2019Archivio Capitolino e dello studio Gai<\/em>, catalogo della mostra a cura di G. Centi
\nRoma, 1982<\/p>\n

Ceschi 1963<\/strong>
\nC. Ceschi
\nLe chiese di Roma dagli inizi del neoclassicismo al 1961<\/em>
\nBologna, 1963<\/p>\n

Ciardi 1989<\/strong>
\nR. P. Ciardi, Bernardino Nocchi
\nRecensir col tratto<\/em>
\n Disegni di Bernardino e Pietro Nocchi<\/em>, catalogo della mostra a cura di R.P.Ciardi e A.Tosi
\nLucca, 1989 \u2013 pp.9-40<\/p>\n

Cipriani 1980<\/strong>
\nA.Cipriani
\nSchede<\/em>, in Giulio Aristide Sartorio (1860-1932)<\/em>
\ncatalogo della mostra a cura di A.A.V.V.
\nRoma, 1980<\/p>\n

Clark 1981<\/strong>
\nA. M. Clark
\nStudies in Roman Eighteenth-Century Painting, selected and edited by E.P.Bowron<\/em>
\nWashington, 1981<\/p>\n

Cohn 1968<\/strong>
\nM. B. Cohn
\nProfile Portrait of Guillaume Guillon Lethi\u00e8re by J.A.D.Ingres, in Fogg Art Museum<\/em> Acquisitions 1966-67
\nCambridge, 1968 \u2013 pp.54-59<\/p>\n

Copenaghen 1970<\/strong>
\nStatens Museum for Kunst. \u00c6ldre Malerkunst Katalog<\/em> (Royal Museum of Fine Arts. Old Danish Paintings Catalogue)
\nK\u00f8benhavn, 1970<\/p>\n

Crispolti \u2013 Drudi Gambillo 1963<\/strong>
\nGiacomo Balla<\/em>
\ncatalogo della mostra di Torino a cura di E.Crispolti e M.Drudi Gambillo
\nTorino, 1963[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”D” tab_id=”1493372339413-6acc1872-51d2″][vc_column_text]Dal Mas<\/strong>
\nG. Dal Mas
\nGiovanni De Min. 1786-1859<\/em>
\nBelluno 1992<\/p>\n

Dal Mas 1999<\/strong>
\nG. Dal Mas
\nPietro Paoletti. 1801-1847<\/em>
\nBelluno 1999<\/p>\n

Dania 1984<\/strong>
\nFortunato Duranti<\/em>, catalogo della mostra di San Severino Marche a cura di L.Dania
\nMilano 1984<\/p>\n

Domestici 1999<\/strong>
\nRenato Tomassi the painter der Maler (1884-1972)<\/em>, catalogo mostra a cura di F. Domestici e F. Tomassi
\nFirenze 1999<\/p>\n

Donfrancesco 1986<\/strong>
\nB. Donfrancesco
\nIl fornaciaio-Eleuterio Riccardi scultore<\/em>
\nColfelice 1986<\/p>\n

Dufay 1844<\/strong>
\nJ.C.Dufay
\nNotice sur la vie et les ouvrages de Wicar<\/em>
\nLille 1844<\/p>\n

Durno 1963\/64<\/strong>
\nDurno James<\/em>
\nin The Dictionary of National Biography<\/em>, Vol.VI
\nOxford 1963\/64, p.266[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”E” tab_id=”1493393556510-d0643eae-a6a2″][vc_column_text]Eleuteri 1986<\/strong>
\nE. M. Eleuteri, Renato Tomassi
\nGalleria d\u2019Arte Eleuteri<\/em>
\nRoma, 1986[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”F” tab_id=”1493372460121-17152af0-2cd3″][vc_column_text]Fagiolo 1968<\/strong>
\nBalla prefuturista<\/em>
\na cura di M. Fagiolo, Galleria L\u2019Obelisco
\nRoma, 1968<\/p>\n

Fagiolo dell\u2019Arco 1998<\/strong>
\nGiacomo Balla 1895-1911. Verso il Futurismo<\/em>, catalogo della mostra di Padova
\na cura di M. Fagiolo dell\u2019Arco
\nVenezia, 1998<\/p>\n

Ficacci 2000<\/strong>
\nL. Ficacci
\nGiovanni Battista Piranesi. The Complete Etchings<\/em>
\nK\u00f6ln, 2000<\/p>\n

Finarte 2000<\/strong>
\nMobili, arredi e dipinti antichi da una casa romana<\/em>
\ncatalogo Asta Finarte
\nRoma, 25 ottobre 2000<\/p>\n

Fiori 1969<\/strong>
\nArchivi del Divisionismo<\/em>
\na cura di T. Fiori, vol.II
\nRoma, 1969<\/p>\n

Firenze 1896<\/strong>
\nFesta dell\u2019Arte e dei Fiori.<\/em> Catalogo della Esposizione di Belle Arti
\nFirenze, 1896<\/p>\n

Fischel 1903<\/strong>
\nO. Fischel
\nLudwig von Hoffmann<\/em>
\nLeipzig, 1903<\/p>\n

Fonti 1981<\/strong>
\nD. Fanti
\nElihu Vedder<\/em>, in Schede 1981<\/em>. Galleria Carlo Virgilio
\nRoma, 1981 \u2013 pp. 75-79<\/p>\n

Franke 1993<\/strong>
\nM. Franke
\nJohann Friedrich August Tischbein<\/em>
\ntesi di dottorato
\n1993<\/p>\n

Friedman 1976<\/strong>
\nW. H. Friedman
\nBoydell\u2019s Shakespeare Gallery<\/em>
\nNew York-London, 1976<\/p>\n

Fuss 1970<\/strong>
\nM. Fuss
\nCarl Ludwig Frommel 1789-1863: Maler und Kupferstecher<\/em>
\nin Badische Heimat<\/em>
\n1970 \u2013 pp. 95-100[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”G” tab_id=”1493372815296-bc1ee40b-c022″][vc_column_text]Gaehtgens-Lugand 1988<\/strong>
\nT. Gaehtgens-J. Lugand
\nJoseph-Marie Vien Peintre du Roi (1716-1809)<\/em>
\nParis, 1988<\/p>\n

Gai 1963<\/strong>
\nFrancesco Gai artista romano<\/em>
\nRoma, 1963<\/p>\n

Garms 1972<\/strong>
\nJ. Garms
\nOthmar Brioschi<\/em>, in Artisti austriaci a Roma dal Barocco alla Secessione<\/em>, catalogo della mostra
\nRoma, 1972 \u2013 nn.37-41<\/p>\n

Garms 1981-82<\/strong>
\nJ. Garms
\nIntroduzione ad Adolf Hir\u00e9my Hirschl<\/em>, in Adolf Hir\u00e9my Hirschl (Temesvar 1860 \u2013 Roma 1933). Disegni, Acquerelli e Pastelli<\/em>
\nRoma, Galleria Carlo Virgilio \u2013 1981-82<\/p>\n

Gasparoni 1865<\/strong>
\nF. Gasparoni
\nDi alcuni affreschi di Guido Guidi<\/em>, in Arti e Lettere II
\n1865 \u2013 p. 373<\/p>\n

Gentilini 1989<\/strong>
\nG.Gentilini
\nAttraverso lo specchio. Giulio Bargellini, la fotografia, il simbolismo<\/em>, in L\u2019Artista 1
\n1989 \u2013 pp. 154-67<\/p>\n

\u201cGiornale delle Belle Arti\u201d 1787<\/strong>
\nScultura<\/em>
\nin \u201cGiornale delle Belle Arti\u201d, vol. IV, p. 136<\/p>\n

Giovannelli 1985<\/strong>
\nR. Giovannelli
\nNuovi contributi per Bernardino Nocchi<\/em>
\nin Labyrinthos, nn.7-8 1985, pp.119-199<\/p>\n

Giovannelli 1992\/93<\/strong>
\nR. Giovannelli
\nPer Stefano Tofanelli<\/em>
\nin Labyrinthos<\/em>, nn.21-24 1992\/93, pp.393-430<\/p>\n

Giovannelli 1994<\/strong>
\nR. Giovannelli
\nTofanelli: Morgen Leonardo<\/em>
\nin Labyrinthos<\/em>, nn.25-26 1994, pp.197-230<\/p>\n

Gnisci 1990<\/strong>
\nS. Gnisci
\nAgricola Filippo<\/em>, in La pittura in italia. L\u2019Ottocento<\/em>
\na cura di E.Castelnuovo
\nMilano, 1991 \u2013 vol. II, pp. 658-659<\/p>\n

Gnisci 1990(1)<\/strong>
\nS. Gnisci
\nGuido Guidi<\/em>, in La pittura in italia. L\u2019Ottocento<\/em>
\na cura di E.Castelnuovo
\nMilano, 1991 \u2013 vol. II, p. 865<\/p>\n

Gnisci 1990(2)<\/strong>
\nS.Gnisci
\nMonti Virginio<\/em>, in La pittura in italia. L\u2019Ottocento<\/em>
\na cura di E. Castelnuovo
\nMilano, 1991 \u2013 vol. II, p.926<\/p>\n

Gozzoli-Mazzocca 1983<\/strong>
\nHayez<\/em>
\ncatalogo della mostra a cura di M.C.Gozzoli e F.Mazzocca
\nMilano, 1983<\/p>\n

Guerrazzi Costa 1983<\/strong>
\nG. Guerrazzi Costa (a cura di)
\nQuel che vidi e quel che intesi di Nino Costa<\/em>
\nintroduzione di M.Apolloni
\nRoma, 1983<\/p>\n

Gunn 1991<\/strong>
\nA. Gunn
\nGuy Head\u2019s Venus and Juno<\/em>
\nin The Burlington Magazine<\/em>, CXXXIII 1991, 1061, pp.510-513.<\/p>\n

Guthmann 1903<\/strong>
\nJ. Guthmann
\n\u00dcber Otto Greiner<\/em>
\nLeipzig, 1903[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”H” tab_id=”1493373086980-60efec74-b361″][vc_column_text]Hartwig 1996<\/strong>
\nM. Hartwig
\nBrioschi Othmar<\/em>, in Saur Allgemeines K\u00fcnstler-lexikon
\nM\u00fcnchen-Leipzig, 1996 \u2013 vol. 14, p. 249<\/p>\n

Haskell 1985<\/strong>
\nF. Haskell
\nMecenati e pittori. Studio sui rapporti tra arte e societ\u00e0 italiana nell\u2019et\u00e0 barocca<\/em>
\nFirenze, 1985<\/p>\n

Hermanin 1910<\/strong>
\nF. Hermanin
\nArtisti moderni: Max Roeder<\/em>, in La Nuova Antologia<\/em>
\n16 ottobre 1910 \u2013 fasc. 932, pp. 529-535<\/p>\n

Hermanin 1912<\/strong>
\nF. Hermanin
\nMax Roeder. Mit 1 Originalradierung und 2 Abbildungen<\/em>
\nin Zeitschrift f\u00fcr Bibldende Kunst<\/em>, XXIII
\n1912 \u2013 p. 309 ss.<\/p>\n

Hermanin 1923<\/strong>
\nF. Hermanin
\nRenato Tomassi<\/strong>
\ncatalogo della mostra
\nRoma, 1923<\/p>\n

Hoberg 1988<\/strong>
\nA.Hoberg
\nLudwig von Hoffmann<\/em>, in I Deutsch-R\u00f6mer. Il mito dell\u2019Italia negli artisti tedeschi, 1850 \u2013 1900<\/em>
\ncatalogo della mostra di Roma a cura di C. Heilmann
\nMilano-Roma, 1988<\/p>\n

Hodkinson 1952\/54<\/strong>
\nT. Hodkinson
\nChristopher Hewetson, an Irish Sculptor in Rome<\/em>
\nin The Walpole Society<\/em>
\n1952-54 \u2013 vol.XXXIV, pp.42-54<\/p>\n

Honour 1959<\/strong>
\nH. Honour
\nAntonio Canova and the Anglo-Romans. Part I: the first visit to Rome<\/em>
\nin The Connoisseur<\/em>
\n1959 \u2013 pp.241-245<\/p>\n

Honour 1993<\/strong>
\nH. Honour
\nNeoclassicismo<\/em>
\nTorino, 1993 (3a edizione in traduzione italiana)[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”I” tab_id=”1493373142902-e069850c-a95c”][vc_column_text]Ingamells 1997<\/strong>
\nJ.Ingamells
\nA dictionary of British and Irish Travellers in Italy 1701-1800<\/em>
\nNew Haven-London, 1997[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”K” tab_id=”1493394111977-a4cc0dde-365c”][vc_column_text]Kashey 1992<\/strong>
\nLudwig von Hofmann 1861-1945. Drawings, watercolors, pastels, prints<\/em>
\ncatalogo della mostra a cura di E.Kashey, Sheperd Gallery
\nNew York, 1992[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”L” tab_id=”1493373274823-d1616a1d-b766″][vc_column_text]Lazzareschi 1930<\/strong>
\nE.Lazzareschi
\nLa villa Mansi a Segromigno e le pitture di Stefano Tofanelli
\n<\/em>in Bollettino Storico Lucchese<\/em>, A.II
\n1930, pp.196-219<\/p>\n

Lefort 1878<\/strong>
\nP.Lefort
\nExposition Universelle. Les Ecoles \u00e9trang\u00e8res de Peinture
\n<\/em>in Gazette des beaux arts<\/em>, XVIII
\n1878, p.398-409<\/p>\n

Leonardo 1995<\/strong>
\nLeonardo
\nTrattato della pittura
\n<\/em>a cura di E.Camesasca
\nMilano, 1995<\/p>\n

Lille 1984<\/strong>
\nLe Chevalier Wicar peintre, dessinateur et collectioneur lillois
\n<\/em>catalogo della mostra
\nLille, 1984[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”M” tab_id=”1493373367842-54c59f7b-c26d”][vc_column_text]Maltese 1956<\/strong>
\nC.Maltese
\nLa formazione culturale di Vincenzo Gemito e i suoi rapporti con il Caravaggio
\n<\/em>in Colloqui del Sodalizio<\/em>, II
\n1956 \u2013 pp.41-45.<\/p>\n

Maltese 1992<\/strong>
\nC.Maltese
\nStoria dell\u2019Arte in Italia 1785-1943<\/em>
\nTorino, 1992 (1a: 1960)<\/p>\n

Mazzocca 1990<\/strong>
\nF.Mazzocca
\nLa pittura dell\u2019Ottocento in Lombardia
\n<\/em>in La pittura in Italia. L\u2019Ottocento<\/em>, a cura di E.Castelnuovo
\nMilano, 1990 \u2013 vol.I pp.87-155<\/p>\n

Mazzocca 1992<\/strong>
\nF.Mazzocca
\nGiacomo Tr\u00e9court
\n<\/em>in A.A.V.V., I pittori bergamaschi dell\u2019Ottocento. Vol. I. Il primo Romanticismo. L\u2019Accademia
\n<\/em>Bergamo, 1992 \u2013 pp.445-481<\/p>\n

Meyer 1816<\/strong>
\nF.J.L.Meyer
\nDarstellung aus Nord \u2013 Deutschland<\/em>
\nHamburg, 1816<\/p>\n

Milano 1838<\/strong>
\nEsposizione delle opere degli artisti e dei dilettanti nelle Gallerie dell\u2019I.R. Accademia delle Belle Arti per l\u2019anno 1838<\/em>
\nMilano, 1838<\/p>\n

Minardi 1834<\/strong>
\nT.Minardi
\nDelle qualit\u00e0 essenziali della pittura italiana dal suo rinascimento fino all\u2019epoca della perfezione
\n<\/em>in Susinno
\n<\/em>1982 \u2013 pp.49-59<\/p>\n

Miraglia 1981<\/strong>
\nM.Miraglia
\nNote per una storia della fotografia italiana (1839-1911)<\/em>, in Storia dell\u2019arte italiana. IX. Grafica e immagine. II. Illustrazione e fotografia
\n<\/em>Torino, 1981<\/p>\n

Monrad 1984<\/strong>
\nDanish Painting. The Golden Age<\/em>, catalogo della mostra a cura di K.Monrad
\nLondon, 1984[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”N” tab_id=”1493374109705-644d0c4f-569d”][vc_column_text]Naef 1977<\/strong>
\nH.Naef
\nDie Bildniszeichnungen von J.-A.-D.Ingres<\/em>, T.IV
\nBern, 1977[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”O” tab_id=”1493374264363-7486c073-4da3″][vc_column_text]Ovidi 1902<\/strong>
\nE. Ovidi
\nTommaso Minardi e la sua scuola<\/em>
\nRoma, 1902[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”P” tab_id=”1493374331404-1f24dd5e-a8aa”][vc_column_text]Pinto 1972<\/strong>
\nSfortuna dell\u2019Accademia. Cultura neoclassica e romantica nella Toscana Granducale. Collezioni lorenesi, acquisizioni posteriori, depositi
\n<\/em>catalogo della mostra a cura di S.Pinto
\nFirenze, 1972<\/p>\n

Pinto 1982<\/strong>
\nS.Pinto
\nLa promozione delle arti negli Stati italiani dall\u2019et\u00e0 delle riforme all\u2019Unit\u00e0
\n<\/em>in Storia dell\u2019arte italiana. Settecento e Ottocento<\/em>, VI
\nTorino, 1982 \u2013 pp.791-1079<\/p>\n

Poppi 1996<\/strong>
\nPelagio Palagi pittore. Dipinti dalle Raccolte del Comune di Bologna
\n<\/em>catalogo della mostra di Bologna a cura di C.Poppi
\nMilano, 1996<\/p>\n

Pressly 1982<\/strong>
\nN.L.Pressly
\nGuy Head and his \u2018Echo Flying from Narcissus\u2019. A British Artist in Rome in 1790\u2019s
\n<\/em>in Bulletin of The Detroit Institute of Arts
\n<\/em>1982 \u2013 60, 3-4, pp.69-79[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”R” tab_id=”1493375041450-a82ce334-6837″][vc_column_text]Rafael Valls Gallery 2001<\/strong>
\n2001 Recent acquisitions, Rafael Valls Limiter Old Master Paintings
\n<\/em>London, 2001 \u2013 n. 32<\/p>\n

Rolfi-Stefani 1999<\/strong>
\nS.Rolfi-C.Stefani (a cura di )
\nQuadreria. Dipinti ed acquarelli dal XVIII al XX secolo
\n<\/em>Galleria Carlo Virgilio
\nRoma, 1999<\/p>\n

Roma 1932<\/strong>
\nMostra di Roma nell\u2019Ottocento
\n<\/em>catalogo della mostra
\nRoma, 1932<\/p>\n

Roma 1933<\/strong>
\nMostra di pitture di Giulio Aristide Sartorio nella Galleria Borghese
\n<\/em>catalogo della mostra
\nRoma, 1933<\/p>\n

Roma 1959<\/strong>
\nA.A.V.V.
\nIl Settecento a Roma, catalogo della mostra
\n<\/em>Roma, 1959<\/p>\n

Roma 1961<\/strong>
\nGiulio Aristide Sartorio nel centenario della nascita
\n<\/em>catalogo della mostra
\nRoma, 1961<\/p>\n

Roma 1972-73<\/strong>
\nX Quadriennale d\u2019Arte
\n<\/em>catalogo della mostra
\nRoma, 1972-73<\/p>\n

Roma 1980<\/strong>
\nVedute mediterranee di Johann Jakob Frey (Basilea 1813 \u2013 Roma 1865). Disegni ed acquarelli
\n<\/em>con saggio introduttivo di L.Norci Cagiano de Azevedo
\nGalleria Carlo Virgilio
\n<\/em>Roma, 1980<\/p>\n

Roma 1982<\/strong>
\nDa Antonio Canova a Medardo Rosso. Disegni di scultori italiani del XIX secolo
\n<\/em>catalogo della mostra a cura di G.Piantoni
\nRoma, 1982<\/p>\n

Roma 1987<\/strong>
\nSecessione romana 1913-1916<\/em>
\ncatalogo della mostra a cura di R.Bossaglia, M.Quesada, P.Spadini
\nRoma, 1987<\/p>\n

Roma 1990<\/strong>
\nRoma anni venti. Pittura, scultura, arti applicate<\/em>
\ncatalogo della mostra a cura di I.de Guttry, M.Fagiolo dell\u2019Arco, M.P.Maino, M.Quesada, V.Rivosecchi, A.Trombadori
\nRoma, 1990<\/p>\n

Rudolph 1985<\/strong>
\nS.Rudolph
\nIl punto su Bernardino Nocchi
\n<\/em>in Labyrinthos<\/em>, nn.7-8
\n1985 \u2013 pp.200-231<\/p>\n

Rudolph 2000<\/strong>
\nS.Rudolph
\nStefano Tofanelli<\/em>, in Art in Rome in the Eighteenth Century<\/em>
\ncatalogo della mostra di Philadelphia e Houston a cura di E.P.Bowron e J.J.Rishel
\nPhiladelphia, 2000[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”S” tab_id=”1493375266469-e7bbc49d-f499″][vc_column_text]Savonuzzi 1971<\/strong>
\nC.Savonuzzi
\nOttocento ferrarese
\n<\/em>Ferrara, 1971<\/p>\n

Sbrilli 1985<\/strong>
\nS.Sbrilli
\nPaesaggi del Nord. L\u2019idea del paesaggio nella pittura tedesca del primo Ottocento<\/em>
\nRoma, 1985<\/p>\n

Scardino 1993<\/strong>
\nGiovan Battista Crema (1883-1964)
\n<\/em>catalogo della mostra di Bondeno a cura di L.Scardino
\nFerrara, 1993<\/p>\n

Scutellari 1893<\/strong>
\nG. Scutellari
\nCenni biografici intorno ai pittori scultori ed architetti ferraresi dal 1750 fino ai giorni nostri per far seguito alle Vite del Baruffali
\n<\/em>Atti della Deputazione ferrarese di Storia patria, vol.V
\nFerrara, 1893<\/p>\n

Serra 1914<\/strong>
\nL.Serra
\nGiulio Aristide Sartorio pittore animalista<\/em>
\nTorino, 1914<\/p>\n

Singer 1912<\/strong>
\nH.W.Singer
\nZeichnungen von Otto Greiner
\n<\/em>herausgegeben von Professor Dr.Hans W.Singer
\nLeipzig, 1912<\/p>\n

Sisi 1987<\/strong>
\nGabinetto disegni e stampe degli Uffizi. LXIX. Disegni dell\u2019Ottocento dalla collezione Batelli
\n<\/em>a cura di C.Sisi
\nFirenze, 1987<\/p>\n

Sisi-Spalletti 1994<\/strong>
\nC.Sisi \u2013 E.Spalletti
\nLa cultura artistica a Siena nell\u2019Ottocento<\/em>
\nSiena, 1994<\/p>\n

Soria 1970<\/strong>
\nR.Soria
\nElihu Vedder, american visionary artist in Rome<\/em>
\nRutheford, 1970<\/p>\n

Spadini 1973<\/strong>
\nP.Spadini
\nGiulio Aristide Sartorio
\n<\/em>catalogo della mostra
\nGalleria Emporio Floreale
\nRoma, 1973<\/p>\n

Spadini 1982<\/strong>
\nP.Spadini
\nOpere inedite di Giulio Bargellini: oli \u2013 pastelli \u2013 carboncini \u2013 studi di architetture e progetti per mosaici dal 1890 al 1936
\n<\/em>Galleria dell\u2019Emporio Floreale
\nRoma, 1982<\/p>\n

Spalletti 1989<\/strong>
\nE.Spalletti
\nQualche riflessione sugli inizi romantici di Giuseppe Bezzuoli
\n<\/em>in Artista
\n<\/em>1989 \u2013 pp. 140-153<\/p>\n

Spalletti 1990<\/strong>
\nE.Spalletti
\nLa pittura dell\u2019Ottocento in Toscana, in La pittura in Italia. L\u2019Ottocento
\n<\/em>a cura di E. Castelnuovo
\nMilano, 1990 \u2013 vol. I, 288-366<\/p>\n

Susinno 1982<\/strong>
\nDisegni di Tommaso Minardi (1787-1871)
\n<\/em>catalogo della mostra a cura di S.Susinno
\nRoma, 1982<\/p>\n

Susinno 1990<\/strong>
\nS.Susinno
\nLa pittura a Roma nella prima met\u00e0 dell\u2019Ottocento
\n<\/em>in La pittura in Italia. L\u2019Ottocento<\/em>, a cura di E. Castelnuovo
\nMilano, 1990 \u2013 vol. I, 399-431<\/p>\n

Susinno 2000<\/strong>
\nS.Susinno
\nGuy Head<\/em>, scheda in \u00c6qua potestas. Le arti in gara a Roma nel Settecento
\n<\/em>catalogo della mostra a cura di A.Cipriani
\nRoma, 2000 \u2013 pp.42-43[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”T” tab_id=”1493375515467-3cb380c3-0d33″][vc_column_text]Thieme-Becker 1936<\/strong>
\nU. Thieme-F. Becker
\nAllgemeines Lexikon der Bildenden K\u00fcnstler<\/em>, vol. XXX
\nLeipzig, 1936<\/p>\n

Tinterow-Conisbee 1999<\/strong>
\nPortraits by Ingres. Image of an Epoch
\n<\/em>edited by G.Tinterow and P.Conisbee
\nNew York, 1999<\/p>\n

Tintori 1966<\/strong>
\nU.Tintori
\nFrancesco Belluomini<\/em>, in Dizionario Biografico degli Italiani<\/em>, vol.VIII
\nRoma, 1966 \u2013 pp.5-6<\/p>\n

Tr\u00e4ger 1996<\/strong>
\nS. Tr\u00e4ger
\nCarl Ludwig Frommel
\n<\/em>in The Dictionary of Art<\/em>, London-New York, vol. 11
\nLondon-New York, 1996 \u2013 p. 802<\/p>\n

Trenta 1822<\/strong>
\n[T.Trenta]
\nNotizie di pittori, scultori e architetti lucchesi per servire alla storia delle belle arti ne\u2019 secoli XVII, e XVIII
\n<\/em>in [Id.], Memorie e documenti per servire all\u2019istoria del ducato di Lucca<\/em>, T. VIII[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”V” tab_id=”1493375753352-da4ea7b0-775b”][vc_column_text]Valentiner 1992<\/strong>
\nG.Valentiner
\nScenebilleder: Wilhelm Marstrand<\/em>
\nK\u00f8benhavn, 1992<\/p>\n

Valentiner 1992(2)<\/strong>
\nWilhelm Marstrand
\n<\/em>catalogo della mostra a cura di G.Valentiner
\nNiv\u00e5, 1992<\/p>\n

Vedder 1979<\/strong>
\nPerceptions and Evocations: the art of Elihu Vedder
\n<\/em>introduzione di R.Soria e testi di J.C.Taylor, J.Dillenberger, R.Murray
\nWashington D. C. 1979<\/p>\n

Vigne 1995<\/strong>
\nG.Vigne
\nDessins d\u2019Ingres. Catalogue raisonn\u00e9e des dessins du mus\u00e9e de Montauban
\n<\/em>Paris, 1995<\/p>\n

Vogel 1925<\/strong>
\nJ.Vogel
\nOtto Greiner
\n<\/em>Bielefeld-Leipzig, 1925<\/p>\n

Vollmer 1939<\/strong>
\nH.Vollmer
\nJohann Friedrich August Tischebein
\n<\/em>in U.Thieme-F.Becker, Allgemeines Lexikon der Bildenden K\u00fcnstler
\n<\/em>Leipzig, 1939 \u2013 vol. 33, pp. 207-209[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”Z” tab_id=”1493375850872-32054ea6-ea59″][vc_column_text]Zucchi 1998<\/strong>
\nA.Zucchi
\nLa Memoria delle pitture di Angelica Kauffmann
\n<\/em>a cura di C.Knight
\nRoma-Londra, 1998[\/vc_column_text][\/vc_tta_section][\/vc_tta_accordion][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_column_text]No Longer a Terra Incognita in American Collections “Those new regions [America] which we found and explored with the fleet…we may rightly call a New World.” Amerigo Vespucci, letter to Lorenzo di Pier Francesco de’ Medici, 1503 Since the end of the 19th century and early decades of the 20th, Americans, both private individuals and…<\/p>\n","protected":false},"featured_media":5780,"template":"","stato_mostra":[72],"class_list":["post-6129","mostra","type-mostra","status-publish","has-post-thumbnail","hentry","stato_mostra-terminata","description-off"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/mostra\/6129","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/mostra"}],"about":[{"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/types\/mostra"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/media\/5780"}],"wp:attachment":[{"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/media?parent=6129"}],"wp:term":[{"taxonomy":"stato_mostra","embeddable":true,"href":"https:\/\/www.carlovirgilio.it\/en\/wp-json\/wp\/v2\/stato_mostra?post=6129"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}