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The First Modern Museums of Art the Birth of an Institution in 18Th- and Early-19Th-Century Europe

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The First Modern Museums of Art the Birth of an Institution in 18Th- and Early-19Th-Century Europe THE FIRST MODERN MUSEUMS OF ART THE BIRTH OF AN INSTITUTION IN 18Th- AND EARLY-19Th-CenTURY EUROPE EDITED BY CAROLE PAUL THE J. PAUL GETTY MUSEUM | LOS ANGELES © 2012 J. Paul Getty Trust Published by the J. Paul Getty Museum, Los Angeles Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu/publications Dinah Berland, Editor Catherine Lorenz, Designer Pamela Heath, Production Coordinator Printed in China Library of Congress Cataloging-in-Publication Data The first modern museums of art : the birth of an institution in 18th- and early-19th-century Europe / edited by Carole Paul. pages cm Includes index. Summary: “This multiauthor book discusses the evolution of the first public museums of art throughout Europe in the eighteenth and early nineteenth centuries and the standards these early museums set for all subsequent institutions of their kind”—Provided by publisher. ISBN 978-1-60606-120-6 (hardcover) 1. Art museums—Europe—History—18th century. 2. Art museums—Europe—History— 19th century. I. Paul, Carole, 1956– editor of compilation. N1010.F57 2012 708.94’09033—dc23 2012007728 front jacket: George Scharf (German, 1788–1860), The Townley Gallery (detail, fig. 2-3), 1827. Watercolor, heightened with white, on gray board, 30.6 × 22 cm (121⁄8 × 83⁄4 in.). London, The British Museum back jacket: Bernardo López y Piquer (Spanish, 1800–1874), Isabel de Braganza, Queen of Spain, as Founder of the Prado, 1829 (fig. 9-5) frontispiece: Benjamin Zix (French, 1772–1811), The Wedding Procession of Napoléon and Marie-Louise of Austria through the Grand Gallery of the Louvre, April 2, 1810, 1810 (detail, fig. 8-6) page vi: Benjamin Zix, Dominique-Vivant Denon Supervising the Removal of Paintings from the Kassel Picture Gallery, ca. 1807 (fig. 5-5) illustration credits Every effort has been made to contact the owners and photographers of objects reproduced here whose names do not appear in the captions or in the illustration credits listed below. Anyone having further information concerning copyright holders is asked to contact Getty Publications so this information can be included in future printings. Fig. 1: Wadsworth Atheneum Museum of Art / Art Resource, NY; fig. 2: Courtesy of Bard Graduate Center: Decorative Arts, Design History, Material Culture, New York. Photographer: Bruce White; fig. 3: Getty Research Institute Los Angeles (85-B17082); fig. 4: Alinari/ Art Resource, NY; fig. 5: Scala / Art Resource, NY; figs. 1-1, 1-2: Courtesy of Carole Paul; fig. 1-3: © Musée de Valence, France; fig. 1-4: Drawing: Yumi Kinoshita, after Kimberly G. Rapacki; figs. 1-5, 1-6, 1-7: Archivio Fotografico dei Musei Capitolini; figs. 2-1, 2-3, 3-1, 3-3, 3-4, 10-5: © Trustees of the British Museum; fig. 2-2: Getty Research Institute, Los Angeles (92-B24479); fig. 2-4, 10-2, 10-3, 10-6: J. Paul Getty Museum, Los Angeles; fig. 3-2: The Royal Collection © 2011, Her Majesty Queen Elizabeth II; fig. 3-5: Courtesy of Photographic Survey, The Courtauld Institute of Art, London; fig. 3-6: Courtesy Art & Architecture Library, Stanford University; fig. 4-1: © Nationalmuseum, Stockholm. Photo: Erik Cornelius; figs. 4-2, 4-6, 4-7: Courtesy of Jeffrey Collins; fig. 4-3: Bayerische Staatsbibliothek, Munich; fig. 4-4: Getty Research Institute, Los Angeles (85-B1403); fig. 4-5: Alinari / Art Resource, NY; fig. 5-1: Bibliothèque nationale de France, Département des estampes et de la photographie; figs. 5-2, 5-3: Getty Research Institute, Los Angeles (N2294.P6-1778); figs. 5-4, 5-5: Staatliche Kunstsammlungen Dresden; figs. 6-1, 6-2, 11-1: Erich Lessing / Art Resource, NY; figs. 6-3, 6-4, 6-5: Österreichische Galerie Belvedere, Vienna; figs. 7-1, 7-2, 7-3: Photo Erik Cornelius © Nationalmuseum, Stockholm; figs. 7-4, 7-5: Photo Hans Thorwid © Nationalmuseum, Stockholm; fig. 8-1: Réunion des Musées Nationaux / Art Resource, NY. Photo: Gérard Blot; fig. 8-2: Réunion des Musées Nationaux / Art Resource, NY. Photo: C. Jean; fig. 8-3: Réunion des Musées Nationaux / Art Resource, NY. Photo: J. G. Berizzi; fig. 8-4: Photo: Carole Paul; fig. 8-5: American Philosophical Society, Philadelphia; fig. 8-6: Réunion des Musées Nationaux / Art Resource, NY; figs. 9-1, 9-3, 9-4: Museo Nacional del Prado; fig. 9-2: Prado, Madrid, Spain / Bridgeman Art Library; fig. 9-5: Bridgeman Art Library; fig. 10-1: Courtesy the Board of Trustees of the Victoria & Albert Museum, London; fig. 10-4: Courtesy of the Royal Academy, London; fig. 11-2: Getty Research Institute, Los Angeles; figs. 11-3, 11-4, 11-5: Getty Research Institute, Los Angeles (86-B17591); fig. 11-6: Getty Research Institute, Los Angeles (89-B7753); figs. 12-1, 12-2, 12-5: Courtesy Berlin Institute of Technology; fig. 12-3: © Bildarchiv Foto Marburg; fig. 12-4: Library of Congress, Washington, D.C.; fig. 12-6: Bayerische Staatsgemäldesammlungen, Munich 112 collins MUseo pio-clementino, vatican CITY 113 iv MUseo Pio-Clementino, Vatican CITY: IDeologY AND Aesthetics IN THE AGE of THE GranD TOUR JeffreY Collins Morning at the Museum On January 1, 1784, King Gustav III of Sweden (r. 1771–92) inaugurated the new year by attending papal mass in the Sistine Chapel. It was the Lutheran monarch’s sixth visit to the Vatican since arriving in Rome on Christmas Eve as the “Count of Haga,” just one day after Emperor Joseph II (r. 1765–90), too, had appeared incognito, as the “Count of Falkenstein.” After the liturgy Gustav and his retinue turned north to the new Museo Pio-Clementino, a project dear to his host, Pius VI; apprised of Gustav’s whereabouts, the pontiff arranged to surprise the king in the galleries, where His Holiness and His Majesty inspected the museum’s “superb and rare collection of ancient monuments and statues.” The event was recorded not just in the Roman press but in a dramatic canvas by Bénigne Gagneraux (1756–1795) that captures the two sovereigns advancing in tandem through luminous Neoclassical halls (fig. 4-1). While Pius gestures toward his treasures with arm raised like the Apollo Belvedere behind him, Gustav, with hand on hip like the Antinous, observes with rapt attention. The image’s power derives from its fragile harmony between secular and sacred on the museum’s seemingly neutral ground, as the pope (to quote Gagneraux) “plays antiquarian” to the king.1 Yet the museum was not neutral, nor the encounter incidental for any of its participants. For Gustav, who returned four times to the Pio-Clementino, received its catalogue as a parting gift, and hung Gagneraux’s ricordo outside Figure 4-1. his council chamber in Stockholm, this public tête-à-tête culminated his Bénigne Gagneraux (French, 1756–1795), elevating Grand Tour and spurred him to found a similar museum in a new Gustav III Visiting palace at Haga. For Pius, who staked his reputation on cultural patronage and the Hall of the Muses ordered his own replica of the canvas, this ecumenicalstatue summit helped in the Company of justify investment in the arts and advertise his progress in securing religious Pope Pius VI, 1785. freedom for Swedish Catholics. And for the two Visconti brothers, Ennio Oil on canvas, 164 × Quirino and Filippo Aurelio, whom Gagneraux depicts clad in black cassocks 262 cm (641⁄2 × at the party’s left edge, the impromptu tour—whether or not they in truth 1031⁄8 in.). Stockholm, participated—marked the triumph of their curatorial efforts to bring modern Nationalmuseum, antiquarian science to the bosom of the Vatican. Above all, this fateful morn- nm 829 114 collins ing encapsulates the museum’s emergence as a tool of Enlightenment statecraft. If it seems odd that a Protestant monarch would spend so much time at mass, it is just as remarkable that the head of the Roman Catholic Church would move seamlessly from celebrating the Eucharist to showcasing his collection of seminaked pagan gods. From today’s vantage point, popes may seem unlikely pioneers of modern museology, a role generally associated with Napoléon and his director of muse- ums, Dominique-Vivant Denon (1747–1825), in early-nineteenth-century Paris. Yet it is worth underscoring that the sculpture section of the Musée Napoléon (as the Musée du Louvre was called between 1803 and 1815) relied extensively on objects, strategies, and even a curator appropriated from the Vatican. Rome’s importance in the birth of the modern museum is being recognized in new research by Carole Paul, Christopher Johns, Daniela Gallo, Heather Hyde Minor, and others, who have shown that the eighteenth-century curia was not an exhausted anachronism but an active agent in a cosmopolitan artistic and intellectual culture. The two visionary patrons who created the Pio-Clementino on the eve of Europe’s Revolutionary era gave the museum-going public what it most valued: tangible links to ancient civilizations lauded as cultural, politi- cal, and aesthetic models, displayed in stylish new galleries supported by the latest scholarship. The Vatican Museum of 1784 caught Gustav’s imagination not just because it sheltered some of the world’s best-known art but because it pioneered museological paradigms that would inspire much of Europe. Long underestimated by historians, the Pio-Clementino embodies the transition from private, princely collections to state-owned or state-sponsored cultural and scientific institutions. As Carole Paul shows (see chap. 1), Rome’s Capitoline Museum took a critical first step in the 1730s under Alessandro Gregorio Capponi (1683–1746), an aristocratic amateur who helped systematize museum practice while transforming seventeenth-century palace rooms for the purpose of scholarly display to a broad public. A generation later, the Pio- Clementino built on that legacy by employing specialist curators and restorers, a dedicated funding stream, and an ambitious campaign of state-sponsored excavations, requisitions, and purchases—and, significantly, by building its core galleries from scratch.
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