Venezia Altrove: Almanacco 2004

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Venezia Altrove: Almanacco 2004 venezialtrove3 OK 18-02-2005 12:42 Pagina 1 venezialtrove3 OK 18-02-2005 12:42 Pagina 2 venezialtrove3 OK 18-02-2005 12:42 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 venezialtrove3 OK 18-02-2005 12:42 Pagina 4 a cura di/edited by Fabio Isman hanno collaborato/texts by Linda Borean Sandro Cappelletto Giuseppe De Rita Rosella Lauber Giovanna Nepi Scirè Francesca Pitacco Giandomenico Romanelli si ringraziano/many thanks to Andrea Emiliani Holly Fresbee (Philadelphia Museum of Art) Augusto Gentili Norman Keyes (Philadelphia Museum of Art) Stefania Mason Gioia Mori Valerio Tura (Théâtre de la Monnaie) Veerle Wallebroek (Théâtre de la Monnaie) in collaborazione con Fondazione di Venezia in collaboration with traduzione inglese Tina Cawthra English translation progetto grafico/layout Studio Tapiro, Venezia © 2004 Marsilio Editori® s.p.a. in Venezia isbn 88-317-8602-6 www.marsilioeditori.it In copertina: Tiziano Vecellio, Morte di Atteone (dettaglio), Londra, National Gallery. Il dipinto è acquistato nel 1799 da sir Abraham Hume, un colto viaggiatore inglese, in un’asta nella quale passarono ben ventotto opere del maestro cadorino, di proprietà di Louis Philippe Joseph d’Orléans. Front cover: Tiziano Vecellio (Titian), Death of Actaeon (detail), London, National Gallery. The painting was bought in 1799 by the educated English traveller Sir Abraham Hume at an auction which sold no less than twenty-eight paintings by the artist from Cadore, belonging to Louis Philippe Joseph d’Orléans. venezialtrove3 OK 18-02-2005 12:42 Pagina 5 sommario/contents 7 Continuando a vagabondare 9 The wandering continues Giuseppe De Rita 13 Così un intero angolo di città ha traslocato: è andato in Pennsylvania, a Filadelfia 21 How an entire city corner moved to Philadelphia, in Pennsylvania Fabio Isman 31 Eliogabalo, prima censura: un’opera del Seicento in scena nel 2004; ma in Belgio 39 First censorship of Eliogabalo: a 17th-century opera is perfomed in 2004 – but in Belgium Sandro Cappelletto 49 «Voglio dei dipinti vergini e senza macola» scrive l’inglese al mercante 57 “I want virgin paintings without a blemish” the englishman writes to the merchant Linda Borean 65 Cosa racconta Giovanni Bellini in quel San Francesco che è uno dei suoi capolavori 71 What is Giovanni Bellini telling us in his masterpiece “Saint Francis” intervista ad Augusto Gentili / an interview with Augusto Gentili 79 Dal 1525, quando lo vide Michiel, ricostruite tutte le tappe (o quasi) della preziosa tavola 85 After Michiel saw it in 1525, a complete reconstruction of the painting’s journey Rosella Lauber 91 Quelli che non hanno venduto (e Correr in fin di vita lascia alla città il suo museo) 101 The Venetians who did not sell (and the moribund Correr bequeaths his museum to the city) Giandomenico Romanelli 113 Ma quei disegni di Quarenghi come sono finiti (e quando) a San Pietroburgo? 119 How (and when) did Quarenghi’s drawings actually get to Saint Petersburg? Giovanna Nepi Scirè 127 Per oltre la metà di un secolo un capolavoro di Tiziano è stato dimenticato in bagno 137 A Titian masterpiece discovered in the bathroom after over half a century Francesca Pitacco venezialtrove3 OK 18-02-2005 12:42 Pagina 6 venezialtrove3 OK 18-02-2005 12:42 Pagina 7 dalla laguna al mondo intero continuando a vagabondare Giuseppe De Rita Y «Militaire et mari» canta il tenore nella Figlia del Reggimento, reg- gendo la scena con più “do” acuti che la musica ricordi; e in quel mix di funzioni mi ritrovo, quando prendo in mano, ormai da anni, questo Almanacco, dicendo a me stesso di esserne «im- prenditore e lettore». L’ho pensato e voluto: ma non ho cultu- ra per organizzarlo, scriverlo, controllarlo; per cui, salto subito ad esserne semplice lettore. 1. Giovanni Antonio Y Con grande felicità, devo dire. Infatti, ogni anno, contraria- Canal detto Canaletto, mente a quanto pensavo, trovo note e notizie inaspettate, e sono Piazza San Marco verso la Basilica (dettaglio), portato a vagabondare per percorsi intellettuali, o meandri mer- Madrid, Museo Thyssen- cantili, di grande interesse e gusto. Farsi spiegare da Gentili Bornemisza. Il dipinto quante cose dica il San Francesco di Giovanni Bellini (così come documenta un vivace mercato, addossato alla l’anno scorso ci spiegò il Cavaliere Thyssen di Carpaccio); seguire la basilica; era nella saga anglo-francese di famiglie e di figli illegittimi, che hanno collezione del principe portato alla straordinaria Wallace Collection; scoprire il mondo Liechtenstein a Vienna, e a lungo è stato ritenuto molto americano (di banchieri e di industriali del carbone e ac- una delle prime Vedute ciaio o del frumento) che ha via via fatto da base alla Frick Col- dell’artista. lection; capire come nel tempo si siano andati modificando i Giovanni Antonio Canal known as Canaletto, Piazza termini dei rapporti di produzione e scambio delle opere d’arte San Marco facing the Basilica (dal rapporto personale fra committente e artista, ai rapporti (detail), Madrid, multipli fra mercanti, galleristi, autenticatori, consulenti poten- Thyssen-Bornemisza Museum. ti alla Berenson, trustees delle fondazioni ecc.); perdersi, nel vero The painting depicts a senso della parola, nel dedalo delle tante famiglie veneziane, del- bustling market in front le loro origini, dei loro edifici e possedimenti, dei loro gusti ar- of the Basilica; it was part of Prince of tistici, dei loro periodi di splendore, o di declino (penso alle Liechtenstein’s collection origini e alle vicende dei Van Axel e specialmente dei Soranzo, in Vienna and for a long forse perché si dice che venissero da Anzio, città che frequento time was considered one da quando avevo un anno); incuriosirsi di quanti potenti e teste of the artist’s first Views. coronate, da Filippo ii all’imperatore Rodolfo, da Luigi Filippo a Edoardo vii, abbiano incrociato e sfruttato i flussi delle opere d’arte prodotte a Venezia: tutto questo, lo riconosco da lettore, è davvero assai piacevole. Y Vagabondando e soffermandomi su queste molteplici curio- 7 venezialtrove3 OK 18-02-2005 12:42 Pagina 8 sità, trovo conferma di quanto Venezia sia stata e sia vissuta al- trove: in modo vitale. La città ha per secoli irradiato produzio- ne e commercio d’arte, mostrando non già un riferimento, ben- sì la sorgente prima di un g rande, e irripetibile, flusso culturale. Cultura- le ho detto, e lo ripeto; p e rché colpisce quanto tale flusso non sia stato soltanto di produzione d’arte, ma sia stato anche di rivisitazione e parteci- pazione dei miti gre c i , della tradizione cristiana, degli stili di vita italiani, con le loro calligrafiche estetiche riproposizioni, ma anche con le loro al- lusioni misteriche. Era 2. Giovanni Antonio un mondo complesso, quello che arrivava con le migliaia di ope- Canal detto Canaletto, La re d’arte, magari comprate soltanto per scelta estetica, o per pos- chiesa della Carità a San Vitale, conosciuto anche come sedere un prestigioso simbolo di status sociale. Il cortile dello scalpellino, Y Venezia dovrebbe essere conscia di questo ruolo anche ora ; Londra, National Gallery. non sentirsi impoverita dalla diaspora, più o meno pre d a t o r i a , Giovanni Antonio Canal known as Canaletto, The del suo patrimonio d’arte, e non sentirsi impoverita dalla generi- Church of Charity in San Vitale, cità e bassa qualità della fruizione turistica di cui è oggetto. Ma or The Stonemason’s Courtyard, sentirsi in fondo orgogliosa del fatto che sia la diaspora sia la frui- London, National Gallery. zione turistica, hanno le loro basi nella ricchezza di una stagione c u l t u rale che non ha avuto nel tempo eguali al mondo. 8 venezialtrove3 OK 18-02-2005 12:42 Pagina 9 from the lagoon all over the world the wandering continues Giuseppe De Rita 3. Lorenzo Lotto, Ritratto Y “Militaire et mari” sings the tenor in the Figlia del Reggimento (Regi- di giovane, San Pietroburgo, ment’s Daughter), holding the scene with more “C” sharps than the Museo dell’Ermitage. Il dipinto fu acquistato history of music remembers. And, for years now, it is in that dallo zar a Ginevra, dalla combination of roles that I find myself each time I pick up this Collezione Tronchin, Almanac, telling myself I am both “director and reader”. That dove era giunto da quella veneziana dei Sagredo. was my thought and desire – but I do not have the skills to or- Lorenzo Lotto, Portrait ganise it, to write it or to manage it. So I immediately become of a young man, Saint just a simple reader. Petersburg, Hermitage Museum; the painting was Y And I must say, it gives me great pleasure. In fact, every year bought by the Czar in I come across unexpected notes and facts that lead me down in- Geneva, from the tellectual paths or on merchant meanderings that are of great in- Tronchin Collection, originally from the terest and elegance. Having Gentili explain how much Giovanni Venetian Sagredo Bellini’s Saint Francis has to say (as he did last year with Carpaccio’s collection. Thyssen Knight); re-tracing the Anglo-French saga of the families and illegitimate children that resulted in the magnificent Wallace Collection; discovering the typically American world (of bankers and coal, steel or grain in- dustrialists) that gradually laid the foundations of the Frick Collection; understanding the changing rapport between the production and exchange of works of art over the years (from the personal relationship between the buyer and artist, to the multiple relationships be- tween merchants, gallery owners,
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