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Almanacco 2003 2003 5-07-2004 12:05 Pagina 1 2003 5-07-2004 12:05 Pagina 2 2003 5-07-2004 12:05 Pagina 3 almanacco della presenza veneziana nel mondo almanac of the venetian presence in the world fondazione venezia 2000 Ma r s i l i o 2003 5-07-2004 12:05 Pagina 4 a cura di/edited by Fabio Isman hanno collaborato/texts by Sandro Cappelletto Giuseppe De Rita Ketty Gottardo Rosella Lauber Stefania Mason Marino Zorzi si ringraziano/many thanks to Bernard Aikema Linda Borean Andrea De Marchi Andrea Emiliani Augusto Gentili Olimpia Marini Clarelli Gioia Mori Giovanna Nepi Sciré Francesca Paterlongo Francesca Pitacco Giandomenico Romanelli in collaborazione con Fondazione Cassa di Risparmio di Venezia in collaboration with traduzione inglese Olga Barmine English translation progetto grafico/layout Studio Tapiro, Venezia © 2003 Marsilio Editori® s.p.a. in Venezia isbn 88-317-8393-9 www.marsilioeditori.it In copertina: Giorgio o Zorzi da Caste lfranco, detto Gior gione, e T iziano Vecellio, V enere dorm iente (dettaglio), Dresda, Gemälde galerie. Il dipinto è seg nalato nel 1 525 da Marca n t o n i o Michiel in cas a del patrizio Gerolamo Mar cello, a S an T omà; ne l 1699 il mer cante L e Roy lo acq uista a V enezia per Au gusto i i di Sass onia. Front cover: Giorgio or Zorzi da Castelfranco, known as Giorgione, and Tiziano Vecellio, Sleeping Venus (detail), Dresden, Gemäldegalerie. The drawing was documented in 1525 by Marcantonio Michiel in the home of patrician Gerolamo Marcello at San Tomà; in 1699, it was purchased in Venice by the merchant Le Roy for Augustus ii of Saxony. 2003 5-07-2004 12:05 Pagina 5 sommario/contents 7 Il vero rimedio alla diaspora: riannodarne i fili per ridare radici ai capolavori 11 The best remedy for the diaspora: reconnecting the masterpieces to their roots Giuseppe De Rita 15 Monsignore, il catalogo delle vendite è questo (cronaca di una grande razzia) 29 My Lord, here is the sales catalog (chronicles of a total depredation) Fabio Isman 47 Breviario per una diaspora: in quali musei sono finiti i dipinti descritti da Michiel 67 Guidebook to a diaspora: which museums got the paintings described by Michiel Rosella Lauber 85 Come è nato e dove si è disperso il più grande patrimonio di codici e di libri al mondo 97 How the world’s largest heritage of codices and books was created and where it was dispersed Marino Zorzi 109 Dal 1743, ad oggi: le peripezie del più famoso violino costruito da Guarneri in laguna 115 Since 1743, the adventures of the most famous violin made by Guarneri in Venice Sandro Cappelletto 123 Forse, si può dare un nome al «Cavaliere Thyssen»; e questo è il suo contesto 131 Perhaps a name can be given to the “Thyssen Knight”; and this is his context intervista ad Augusto Gentili / an interview with Augusto Gentili 141 Come e perché la Serenissima non ha conosciuto la grande arte di Caravaggio 149 How and why the Serenissima did not experience the great art of Caravaggio Stefania Mason 157 Per soddisfare il suo “plaisir” l’eccentrica mistress ruba al canale anche i balconi 167 To satisfy her “plaisir” the eccentric Mistress steals the balconies from the canal Ketty Gottardo 2003 5-07-2004 12:05 Pagina 6 1. David Teniers, L’arciduca David Teniers, The Archduke Leopoldo Guglielmo nella sua Leopold Wilhelm in his Gallery, Galleria, Madrid, Museo del Madrid, Prado Museum (a Prado (dono dell’arciduca gift of the Archduke to the alla Casa reale spagnola, Spanish Royal family, ante 1653, indi nelle before 1652, hence in the collezioni di Filippo iv re collections of Philip iv di Spagna). Dalla King of Spain). The quadreria del fratello gallery of the brother of dell’imperatore Emperor Ferdinando iii Ferdinando iii d’Asburgo of Hapsburg is the source deriva il nucleo principale for the principal nucleus del Kunsthistorisches of the Kunsthistorisches Museum di Vienna Museum of Vienna (on (a pag. 8, la Legenda per page 8, the Legend for alcune delle opere some of the recognized riconoscibili). works). 2003 5-07-2004 12:05 Pagina 7 una vitalità così esplosiva che doveva tracimare altrove il vero rimedio alla diaspora: riannodarne i fili per ridare radici ai capolavori Giuseppe De Rita 2. Ritratto d’uomo, attribuito Y È il terzo anno che noi della Fondazione Venezia 2000 cu- a Jacopo Bellini, già in una collezione bergamasca riamo questo almanacco, tentando di dar conto di quanta cultu- e, poi, in quella veneziana ra ed arte veneziana si sia, più o meno silenziosamente, sparsa di Giovanni Pasqualini. nel mondo. Ed è il terzo anno che il mio non stimolantissimo Portrait of a Man, attributed to Jacopo Bellini, esercizio di prefazione, si ritrova sorpreso, quasi sbigottito, di previously in a collection fronte alla vitalità della Venezia d’un tempo ed alla ricchezza del- in Bergamo, and during la Venezia attualmente “altrove”. the sixteenth century in Y Venezia d’un tempo era non solo una grande industria di the Venetian collection of Giovanni Pasqualini. produzione artistica ed un grande mercato d’arte, era un vero e proprio vulcano eruttivo, che riversava continuamente nel conti- nente europeo libri, quadri, musiche strumentali, opere teatrali, e migliaia di oggetti di grande qualità. E tutta la so- cietà veneziana ruotava su questa enorme ricchezza creativa: sia sul versante della produzione e smercio delle opere d’arte, sia sul versante della sua fr uizione, con i nobili ed i ricchi che creavano proprie collezioni e con la g ente comune che af- follava i tan ti teatri. Y Chi leggerà i testi che seguono non potrà non restare colpito dalla vulcanica vitalità di Venezia in termini di produ- zione artistica, una vitalità fra l’altro molto indigena, non amando a quell’e- poca i veneziani chi venisse ad occupare spazi. Dürer fu addirittura multato, perché aveva dipinto in città senza l’au- torizzazione della corporazione locale (l’Arte dei pittori); e Caravaggio non riuscì ad entrare “nel giro” perché le sue creazioni erano considerate troppo “fo- restiere” per i canoni pittorici della co- 7 2003 5-07-2004 12:05 Pagina 8 9 10 3 7 13 5 4 8 1 2 6 11 12 1bis. Il dipinto ritrae, tra (8) e Il pastore e la ninfa (9) di perhaps a Self-portrait by the l’altro, (1) David Teniers e Tiziano, anch’essi a same author (5), now in il Conte di Fuensaldana Vienna;del medesimo Budapest; the central area nella pinacoteca autore, una perduta Danae (6) with the Madonna with dell’Arciduca Leopoldo (10); di Jacopo Tintoretto Child, and the left side (7) Guglielmo (2), in cui si (11) un perduto Ritratto di with San Nicola da Bari and riconoscono: Laura (3) e I cavaliere di Malta; di Paolo Mary Magdalen, from the San tre filosofi (4) Veronese un San Sebastiano Cassiano Altarpiece by di Giorgione, ora al (12) e Cristo guarisce il giovane Antonello da Messina, also Kunsthistorisches Museum di Nain (13) sempre at the Kunsthistorisches di Vienna; il Ritratto d’uomo conservati a Vienna. Museum in Vienna; Christ ritenuto forse un The painting portrays (1) and the Woman Taken in Adultery Autoritratto del medesimo David Teniers and the (8) and The Shepherd and the autore (5), ora a Budapest; Count of Fuensaldana in Nymph (9) by Titian, also la parte centrale (6), con the painting gallery of in Vienna; by the same la Madonna con il Bambino, e Archduke Leopold author, a lost Danae (10); quella laterale sinistra (7) Wilhelm (2) where one by Jacopo Tintoretto (11) a con San Nicola da Bari e la may recognize: Laura (3) lost Portrait of a Knight of Maddalena, della Pala di San and The Three Philosophers (4) Malta; by Paolo Veronese a Cassiano di Antonello da by Giorgione, now at the Saint Sebastian (12) and Christ Messina, esse pure al Kunsthistorisches Museum Heals the Young Man from Nain Kunsthistorisches Museum in Vienna; the Portrait of a (13) also conserved in 8 di Vienna; Cristo e l’adultera Man, believed to be Vienna. 2003 5-07-2004 12:05 Pagina 9 munità veneziana. Gli artisti erano quindi prevalentemente lo- cali, o almeno erano legittimati dall’appartenenza; ma è sor- prendente la loro “potenza di fuoco”, con una intensità di lavo- ro davvero straordinaria dei creativi, dei copisti, dei restauratori, con una potenza che veniva alimentata non solo dall’impeto artistico, ma da una dinamica mista di po- tere corporativo e di corsa libera al merca- to, che forse sarebbe utile capire meglio e riproporre anche oggi in altri settori. Y Ma la vitalità maggiore la si aveva sul versante mercantile, tanto che ne era con- dizionata la stessa composizione sociale della città. Altissima infatti era la percen- tuale di persone addette alle diverse fun- zioni di smercio, in un ricco e variegato panorama di “professionisti” di tali fun- zioni: mercanti; consulenti; agenti d’ac- quisto; mediatori; restauratori e riprodut- tori a stipendio; autenticatori; esportatori e trasportatori più o meno clandestini (fi- no alle «nobildame che portano Giorgio- ne nella cappelliera»); sensali, banditori 3. Raffaello, Adorazione dei d’asta, informatori (specialmente apprezzati vetrai e barbieri, pastori, Parigi, Musée du che meglio si intrufolavano nei palazzi), “bracchi”, persone cioè Louvre: il disegno era presente nella collezione che andavano in giro a localizzare opere potenzialmente razzia- veneziana di Gabriele bili e vendibili; e, per finire, residenti stranieri e personale di Vendramin. consolato, che si occupavano di individuare ed inoltrare in pa- Raffaello, Adoration of the tria i pezzi e/o le collezioni più importanti.
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