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Collezionismo Di Stampe a Padova Tra Settecento E Ottocento Tre Collezioni a Confronto

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Collezionismo Di Stampe a Padova Tra Settecento E Ottocento Tre Collezioni a Confronto Corso di Laurea magistrale in Economia e Gestione delle Arti e delle Attività Culturali Tesi di Laurea Collezionismo di stampe a Padova tra Settecento e Ottocento Tre collezioni a confronto Relatore Ch. Prof. Emanuele Pellegrini Correlatore Ch. Prof.ssa Cecilia Vicentini Laureando Stella Ceccato Matricola 842092 Anno Accademico 2013/2014 1 2 INDICE PREMESSA 1. TRA COLLEZIONISMO E STUDIO: CENNI SULL‟INCISIONE E SUL MERCATO TRA SETTECENTO E OTTOCENTO............................................................................................... 9 1.1 IL MERCATO DI STAMPE ......................................................................................... 13 1.2 COLLEZIONISMO E STAMPE D‟ARREDO ................................................................... 19 1.3 LA TRATTATISTICA SULL‟INCISIONE ...................................................................... 24 2. IL COLLEZIONISMO DI STAMPE A PADOVA TRA SETTECENTO E OTTOCENTO: I COLLEZIONISTI, LE RACCOLTE E LA LORO STORIA ............................................................ 29 2.1 COLLEZIONISMO DI STAMPE A PADOVA ................................................................. 29 2.2 TRE COLLEZIONISTI PADOVANI NELL‟OTTOCENTO: PROFILO BIOGRAFICO E LE LORO COLLEZIONI ................................................................................................................. 43 2.2.1 FEDERICO MANFREDINI (ROVIGO, 1743 – CAMPOVERARDO, 1829) ............... 45 2.2.2 LUIGI GAUDIO (PADOVA, ? – PADOVA, 1836) ................................................. 50 2.2.3 ANTONIO PIAZZA (PADOVA, 1772 – PADOVA, 1844) ...................................... 55 3. LE COLLEZIONI PADOVANE A CONFRONTO SULLA BASE DEI CATALOGHI A STAMPA DELLE LORO RACCOLTE ................................................................................................... 62 3.1 DEL PERCHÉ COLLEZIONARE STAMPE E LE MODALITÀ DI RACCOLTA TRA SETTECENTO E OTTOCENTO......................................................................................... 62 3.2 I CATALOGHI E GLI SCRITTI SULLE COLLEZIONI: STRUTTURA ED ESEMPI ................ 69 3.3 I CATALOGHI DELLA COLLEZIONE MANFREDINI DI ANTON NEUMAYR ................... 72 3.3.1 L‟AUTORE DEI CATALOGHI: ANTON NEUMAYR VON FLESSEN SEILBITZ (VIENNA 1769- VENEZIA 1859) ............................................................................... 72 3.3.2 ANALISI DEI CATALOGHI E DELLA COLLEZIONE .............................................. 74 3 3.4 IL CATALOGO DELLA COLLEZIONE GAUDIO DI ANTONIO MARSAND ...................... 85 3.4.1 L‟AUTORE DEL CATALOGO: ANTONIO GEROLAMO MARSAND (VENEZIA, 1765 – MILANO, 1842) ........................................................................................................ 85 3.4.2 ANALISI DEL CATALOGO ................................................................................. 86 3.5 IL CATALOGO DELLA COLLEZIONE PIAZZA DI ANTONIO MENEGHELLI ................... 98 3.5.1 L‟AUTORE DEL CATALOGO: ANTONIO MENEGHELLI (VERONA, 1765 - PADOVA, 1844) ....................................................................................................................... 98 3.5.2 ANALISI DEL CATALOGO ................................................................................. 99 3.6 CONSIDERAZIONI SULLE COLLEZIONI ................................................................... 106 3.6.1 GLI INCISORI PIÙ RICERCATI, I SOGGETTI E LE TECNICHE ......................... 106 3.6.2 IL MERCATO CALCOGRAFICO E I PREZZI DELLE STAMPE AGLI INIZI DELL‟OTTOCENTO ................................................................................................. 138 4. TAVOLE ..................................................................................................................... 151 5. APPENDICE DOCUMENTARIA ...................................................................................... 167 6. BIBLIOGRAFIA ........................................................................................................... 211 4 PREMESSA La mia tesi si propone di mettere a confronto alcune raccolte di stampe appartenute a collezionisti padovani vissuti a cavallo tra il XVIII e il XIX secolo a partire dai cataloghi a stampa delle loro collezioni, al fine di trarre delle considerazioni significative sul mercato, sul gusto e sulla diffusione di incisioni in questo periodo storico. Questo studio mi ha permesso di approfondire la conoscenza dell‟incisione in un periodo particolarmente significativo per questa forma d‟arte, spesso trascurato dagli studiosi. Le stampe, fin dalla loro apparizione, sono sempre state oggetto di interesse: nel XV secolo circolavano per lo più immagini devozionali e religiose vendute a bassi prezzi, che avevano massima diffusione in ambito strettamente popolare. Ben presto anche gli artisti e i collezionisti cominciarono a prestare attenzione alle incisioni: i primi, perché esse erano strumenti privilegiati di studio e di circolazione delle immagini; i secondi, perché l‟ampia diffusione delle stampe, dei soggetti che offrivano e la facilità di reperirle, permettevano una formazione e un‟educazione figurativa altrimenti difficile da affinare. Pur essendo oggetto delle mire dei collezionisti, le stampe erano generalmente considerate uno strumento di supporto, un‟arte minore, subordinata alla più importante espressione artistica, ossia la pittura. Il Settecento ha rappresentato un secolo di grandi traguardi per l‟incisione, la quale ha potuto affrancarsi dalla condizione di pura arte meccanica; il secolo successivo ha rappresentato l‟ultimo grande periodo d‟oro per l‟intaglio, le cui potenzialità sono state progressivamente oscurate e soppiantate dalla nascente fotografia. A partire dalle osservazioni di Spalletti (1979) e di Mazzocca (1981) ho affrontato, quindi, una considerazione generale sulla grafica tra Settecento e Ottocento a livello italiano ed europeo. Sono state individuate le ragioni del particolare favore di cui godeva l‟incisione di traduzione ed è stato portato all‟attenzione l‟interesse dimostrato dalla critica coeva e da studiosi ed eruditi come Francesco Milizia (1797), Luigi Lanzi (1809) e Giuseppe Longhi (1830) sulle potenzialità del mezzo incisorio in ambito critico e artistico-storiografico. Il discorso si è spostato poi sul collezionismo e sul mercato di stampe che tra XVIII e XIX secolo apparivano particolarmente floridi. La nuova attenzione rivolta alle incisioni aveva portato, infatti, a un incremento delle collezioni, sia pubbliche sia private, e di conseguenza il mercato e la circolazione delle stampe erano particolarmente intensi e avevano raggiunto un‟espansione considerevole in tutta Europa. Parigi, Londra e Vienna erano i principali centri 5 di smistamento di opere d‟incisione: le vendite e le aste private o pubbliche consentivano di reperire esemplari a prezzi differenti; il lavoro di mercanti e agenti era fondamentale per riuscire ad aggiudicarsi prima degli altri le prove migliori e le più rare. In Italia il commercio di stampe si concentrava in città come Venezia, Firenze, Roma e Milano, dove sorsero numerose ditte e negozi specializzati. In seguito si è accennato al diffuso utilizzo delle stampe come strumenti privilegiati di arredo degli ambienti domestici e all‟intensa attività editoriale e di tipo pubblicitario che supportava la diffusione delle incisioni. Ho ritenuto poi opportuno proporre una panoramica della più importante trattatistica sull‟incisione che si è diffusa in maniera massiccia in questo periodo. Le opere di Basan (1767), Heinecken (1771), Jubert (1821) ma soprattutto gli imponenti volumi di Adam Bartsch (1803-1821) hanno rappresentato una base e un supporto per i collezionisti nella creazione delle proprie raccolte e soprattutto ha testimoniato l‟enorme interesse nei confronti dell‟arte incisoria da parte di studiosi e amatori. A partire da queste premesse nel primo capitolo lo studio ha preso in esame il caso di Padova. I contributi di Pomian (1983) e di Fantelli (1976; 1982) hanno messo in luce come Padova, città molto vivace dal punto di vista culturale grazie alla presenza dell‟Università, tra Settecento e Ottocento si era distinta rispetto ad altre città dell‟entroterra per la forte spinta al collezionismo. Si è cercato di mettere in risalto, grazie alle informazioni ricavate dalle numerose guide coeve su Padova, come progressivamente in città sul finire del XVIII secolo si siano formate nuove collezioni di stampe che prima non esistevano, elemento significativo a testimonianza del rinnovato interesse nei confronti dell‟incisione. Ho brevemente accennato, quindi, alle principali raccolte di stampe padovane come quella celebre di Giovanni de Lazara, del soprano Gaspare Pacchierotti, degli abati Antonio Marsand e Antonio Meneghelli e di altri collezionisti. L‟attenzione si è rivolta, in particolare, sulle raccolte di tre cittadini padovani: Federico Manfredini, Luigi Gaudio e Antonio Piazza. Dopo aver ricostruito i loro profili sono state presentate le collezioni. Per quanto riguarda la raccolta del marchese Manfredini le notizie sono numerose per la presenza di scritti sulla sua figura, di un nucleo consistente di lettere scambiate tra il marchese e diversi corrispondenti come il conte Giovanni de Lazara o Tommaso Puccini e per gli studi svolti sulla sua professione e passione collezionistica. Più complessa è stata la ricostruzione del profilo e della storia della raccolta di Luigi Gaudio, per il quale è stata fondamentale una ricerca nell‟archivio della famiglia conservato all‟Archivio di Stato di Padova. Dalla documentazione sono
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