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IN CONVERSATION with JENNIFER MONTAGU João R

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IN CONVERSATION with JENNIFER MONTAGU João R IN CONVERSATION WITH JENNIFER MONTAGU João R. Figueiredo ew art historians would dispute that Jennif‑ with ever fresh, surprising, insights. A volume Fer Montagu is one of the most distinguished of essays in her honour is about to come out, as scholars of Italian (mostly Roman) Baroque a tribute to her outstanding contribution to the sculpture. Besides her many articles and pub‑ history of art. She is currently writing a book on lished lectures, her books include what is (and Giovanni Battista Maini, a sculptor who flour‑ probably will remain for years to come) the most ished in Rome during the first half of the eight‑ thorough study of a single sculptor, the mono‑ eenth century. graph on Algardi and catalogue raisonné of his In her office on the second floor of the War‑ oeuvre (1985); the model edition of Le Brun’s burg Institute, facing the trees of Gordon Square influent ‘conférence’ on the expression of pas‑ and filled with filing cabinets and stacks of doc‑ sions, with an extensive analysis of Le Brun’s uments and photographs, we talked not only ideas (1994), originally her PhD thesis; the Slade about the issues Jennifer Montagu has worked and Mellon lectures, respectively, Roman ba‑ on as an art historian, but also about several ap‑ roque sculpture: the industry of art (1989), and parently trivial matters which deserve attention Gold, silver and bronze: metal sculpture of the if one wants to get more than a glimpse of the Roman baroque (1995); a second book on Algardi person behind the voluminous scholarship: pho‑ for an exhibition in Rome curated by her, Algar‑ tography, friends, cigars, and the most brilliant di, l’altra faccia del barocco (1999); and Bronzes operation of deception carried out by the British (1963), an irresistibly inviting introduction to during World War II. That so many topics were a subject few people cared about at the time of discussed is testimony to Jennifer Montagu’s its publication, small bronze sculptures, a topic immense generosity. which Jennifer Montagu would revisit often, You are known for disliking big theories what the word means.» Would you say this and for rejecting the idea of having a meth­ describes your practice as an art historian? od, which reminds me of something William Has anyone ever tried to ascribe you a par­ Empson once said to I. A. Richards: «My pu­ ticular method? pils often ask me to explain about method­ I completely agree. Some people seem obsessed ology, and I always tell them I have no idea by method, but I don’t know what that means, 4 IN CONVERSATION WITH JENNIFER MONTAGU | JOÃO R. FIGUEIREDO F d V 05 and I certainly do not have one. I am interested dealing with certain questions that interested in a variety of problems, and try to find a way me, such as «how does one set about getting a for solving them: as the problems vary, so do block of marble?» It so happens that at the same the ways I try to find a solution. Some years ago time—I didn’t hear any of them—there were a some people from the Getty were interviewing series of Reith Lectures, you know, this series everybody about their methods, and I have no of lectures on the radio, by someone who was method. I said it was utterly pointless to talk talking about genius, and so forth. I happen to about method. Anyway, we agreed to discuss it find genius terribly uninteresting. The works over dinner, but it turned out that their recorder they produce are marvellous, but you’re never wasn’t working, so although my name appears going to understand them because if you did in the book they published, nothing that I said they wouldn’t be geniuses. (Laughs.) I was much is in it. more interested in how ordinary people worked, and in fact the geniuses also had to order blocks Let’s hope my recorder is more reliable than of marble in the same way, they had to cast their that! Anyway, The Eternal Baroque: Studies in bronzes in the same way. Honour of Jennifer Montagu is scheduled to come out very soon... Would you say it was not so much a change in Yes, some time in the Spring, I think. «method», if the word can be used at all, that you introduced, rather a set of questions that It’s described by the publisher (Skira) as «a were overlooked by art historians? tribute to an art historian who fundamental­ Quite, and relationships. For instance, so much ly changed the way we think about baroque of baroque sculpture was designed by architects. sculpture.» What did art historians say about None of this was unknown. It’s just that I hap‑ baroque sculpture when you started re­ pened to write about it while other people hadn’t. searching this subject? I don’t think I’ve changed anything. I mean, it What you offered your readers was an ac­ has surprised me. I was always interested in count of not just the finished sculpture but how things were made. I don’t mean manually, a whole chain of events and actions in which but studio organization and so forth, so I wrote many individuals were involved. about that. And I didn’t think I was changing Well, yes. This, to some extent, came out of my anything at all, I just thought I was dealing with book on Algardi. A lot of this is actually in Al‑ certain questions that interested me and it seems gardi. It started there and I became interested they interest a lot of other people too. in that sort of thing, and then I included other relevant material that I came across when I was They interest other people now. working on that. It seems so. There’s that book by Wackernagel (Der Lebensraum des Künstlers in der florentinis‑ And then you wrote Roman Baroque Sculpture: chen Renaissance, Leipzig, 1938), on Renaissance The Industry of Art, originally presented as a painting mainly, and he quoted always from series of Slade Lectures at Cambridge. published sources like Vasari and things like Quite. It is a series of lectures intended for a that about how artists actually set about work‑ non ‑specialist audience, and I think actually the ing. Mine was more from documents. I didn’t book is quite readable partly because it started think I was doing anything, as I said, particularly off as lectures that were meant to be listened to original, or trying to change anything, I was just and, I hope, enjoyed. 5 IN CONVERSATION WITH JENNIFER MONTAGU | JOÃO R. FIGUEIREDO F d V 05 One of the ways you changed the perception below, but also how the head actually was, so a of sculpture has to do with the actual way we lot of details had to be taken from the straight‑ look at statues and reliefs. You deal with it in forward angle. your 2007 Frick Collection lecture. To a cer­ tain extent, you try to reconstruct the sculp­ Algardi must have thought that some day the tor’s intentions when faced with a particular person who would have to dust the top of the location and the way he coped with the lim­ statue might come to appreciate his beautiful itations of light, point of view and so forth. carving. Could you elaborate a little on that? Quite. And one does. Thanks to a restorer friend I think it started again when I was working on I’ve been able to look over all sorts of things Algardi and all the photographs one could get close to. And the most fascinating recently was commercially of busts on memorials high up the Pietro Bernini Assumption of the Virgin in in churches—people had gone to tremendous Santa Maria Maggiore, in what is now the bap‑ efforts to erect scaffolding, so you got a whole tistery, and looking at that close to, it’s incredible lot of photographs of the tops of people’s heads, what he did. whereas the artists knew they were going to be seen from the floor. So I insisted in having pho‑ And you published a photograph of the back tographs taken specially for the book, from the of Bernini’s tomb of Urban VIII, so as to show floor and whenever possible with natural light, the inside of the statue with the marks of the which is not always possible in churches. bricks used for the cast. Again, a friend let me climb up there. It was a And you take your own photographs, don’t rather horrifying experience because they start‑ you? ed celebrating a Mass while we were up there. Well, yes, some of them... You should ask the And at one point I was leaning forward and he Warburg photographer who had to try to pro‑ dragged me back saying that someone might duce reasonable images from them. (Laughs.) think the Pope was coming back to life again! Yes, I do take a lot of my own photographs but (Laughs.) And we had to hide behind it until not very many of them are publishable. But, they finished it. (Laughs.) The same friend, ac‑ very kindly, Oreste Ferrari, who was the head of tually, enabled me to climb up on to the top of the Gabinetto Fotografico in Rome at that time, the «baldacchino» in St. Peter’s—I didn’t actual‑ gave me a photographer to take round and take ly get on to it—but right to the top level, but I these photographs for me of the main tombs in froze.
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