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Art Bulletin of Nationalmuseum Stockholm Volumes 24–25 Foreword In the Breach of Decorum: Painting between Altar and Gallery Gail Feigenbaum Associate Director, The Getty Research Institute, Los Angeles Art Bulletin of Nationalmuseum Stockholm Volumes 24–25 Foreword Dr. Susanna Pettersson Director General Associate Professor Art Bulletin of Nationalmuseum, Stockholm, (An Unpublished Drawing on Panel by Salvator (In the Breach of Decorum: Painting between is published with generous support from the Rosa Depicting a Landscape with a Philosopher Altar and Gallery, Fig. 9, p. 163). Friends of the Nationalmuseum. and Astrological Symbols, Fig. 6, p. 22). © Wikimedia Commons/ CC BY 2.0 © The Capitoline Museums, Rome. Archivio (In the Breach of Decorum: Painting between Nationalmuseum collaborates with Svenska Fotografico dei Musei Capitolini, Roma, Sovrinten- Altar and Gallery, Fig. 13, p. 167). Dagbladet, Bank of America Merrill Lynch, denza Capitolina ai Beni Culturali. © The John & Mable Ringling Museum of Art, Grand Hôtel Stockholm, The Wineagency and (A Drawing for Pietro da Cortona’s Rape of the Sarasota. Bequest of John Ringling, 1936. Nationalmusei Vänner. Sabine Women, Fig. 2, p. 28). (In the Breach of Decorum: Painting between © Bibliothèque Nationale France, Paris. Altar and Gallery, Fig. 19, p. 173). Cover Illustration (The Entry of Queen Christina into Paris in 1656, © Uppsala auktionskammare, Uppsala Étienne Bouhot (1780–1862), View of the Pavillon by François Chauveau, Fig. 2, p. 32). (Acquisitions 2017: Exposé, Fig 4, p. 178). de Bellechasse on rue Saint-Dominique in Paris, © Finnish National Gallery/ Sinebrychoff Art 1823. Oil on canvas, 55.5 x 47 cm. Purchase: the Museum, Helsinki. Photo: Jaakko Lukumaa Graphic Design Hedda and N. D. Qvist Fund. Nationalmuseum, (Self-Portraits and Artists’ Portraits as Portraits of BIGG NM 7434. Friends – A Selection of Paintings and Drawings, Fig. 2, p. 72). Layout Publisher © IKEA. Agneta Bervokk Susanna Pettersson, Director General. (Spika and Tajt – Alternative Furniture for a Young Generation, Fig. 5, p. 88). Translation and Language Editing Editors © Moderna museet, Stockholm Clare Barnes, Gabriella Berggren, and Martin Ludvig Florén, Magnus Olausson and Martin Olin. (Henry B. Goodwin – A Visual Artist with the Naylor. Camera as His Tool, Fig. 2, p. 90). Editorial Committee © The J. Paul Getty Museum, Los Angeles. Digital Publishing Ludvig Florén, Carina Fryklund, Eva Lena image courtesy of the Getty’s Open Content Ludvig Florén, Magnus Olausson, and Martin Karlsson, Audrey Lebioda, Ingrid Lindell, Program. Olin (Editors) and Ingrid Lindell (Publications Magnus Olausson, Martin Olin, Cilla Robach (Per Krafft the Younger and Belisarius – One of Manager). and Lidia Westerberg Olofsson. the Foremost Swedish Examples of Neoclassical Painting in the French Style, Figs. 3–4, pp. 113–114). Art Bulletin of Nationalmuseum is published Photographers © Albert Bonniers Förlag, Stockholm annually and contains articles on the history and Nationalmuseum Photographic Studio/ (Nils Kreuger’s Drafts for the Covers of Bland theory of art relating to the collections of the Linn Ahlgren, Erik Cornelius, Anna Danielsson, Franska Bönder (1889) by August Strindberg and Nationalmuseum. Cecilia Heisser, Per-Åke Persson and Hans Ord och Bild (1897), Fig. 2, p. 137). Thorwid. © Bukowskis auktioner, Stockholm Nationalmuseum (Nils Kreuger’s Drafts for the Covers of Bland Box 16176 Picture Editors Franska Bönder (1889) by August Strindberg and SE–103 24 Stockholm, Sweden Ludvig Florén and Rikard Nordström. Ord och Bild (1897), Fig. 3, p. 138; Acquisitions www.nationalmuseum.se 2017: Exposé, Fig, 3, p. 178). Photo Credits © Pia Ulin. © Nationalmuseum, the authors and the owners of © Le Gallerie degli Uffizi, Palazzo Pitti, Florence. (The Nationalmuseum’s New Restaurant – An the reproduced works. Gabinetto Fotografico delle Gallerie degli Uffizi. Artistic Collaboration, Figs. 1, 2, 4, and 5, pp. 149, (An Unpublished Drawing on Panel by Salvator 150, 152 and 153). ISSN 2001-9238 Rosa Depicting a Landscape with a Philosopher © Wikimedia Commons/ Public Domain and Astrological Symbols, Fig. 3, p. 19). (Per Krafft the Younger and Belisarius – One of © Teylers Museum, Haarlem. the Foremost Swedish Examples of Neoclassical (An Unpublished Drawing on Panel by Salvator Painting in the French Style, Fig 3, p. 112 and ArtRosa Depicting Bulletin a Landscape with a Philosopher of NationalmuseumIn the Breach of Decorum: Painting between Stockholm and Astrological Symbols, Fig. 5, p. 21). Altar and Gallery, Figs. 1–8, 10–12, and 14–18, © The State Hermitage Museum, St. Petersburg. pp. 155–172). Photo by Pavel Demidov. © Wikimedia Commons/ CC BY 3.0 Volumes 24–25 Art Bulletin of Nationalmuseum Volumes 24–25, 2017–2018 THE TESSIN LECTURE/IN THE BREACH OF DECORUM: PAINTING BETWEEN ALTAR AND GALLERY In the Breach of Decorum: Painting between Altar and Gallery Gail Feigenbaum Associate Director, The Getty Research Institute, Los Angeles The following entry is recorded among the obituaries of 1640 for the San Prospero parish in Reggio: A panel, depicting the birth of Jesus Christ – the work of the most renowned painter Antonio da Correggio – was carried off by night. This sacrilege perpetuated by order of our Duke Francisco brought very deep sadness to all citizens. This panel is held among the most valuable art-objects of the same Duke in the city of Modena.1 This bitterly ironic obituary was a response to the seizure, under the cover of night, of Correggio’s famous Notte altar- piece (Fig. 1) from its chapel in Reggio, as ordered by the Duke of Mantua, who wanted the masterpiece for display in his own gallery. We will return to this episode. Beginning late in the sixteenth century in Italy, a significant number of paintings that had been commissioned for church settings were acquired by collectors for display in their private palaces. In almost every instance, the transfer created some kind of disturbance, resistance, discomfort, or even scandal – evidence that this was a disruptive pheno- menon. Displacements of altarpieces fre- quently entailed negotiations and accom- modations that were far from straight- forward. Motives of buyers, sellers, and middlemen were hidden or dissembled; people acted in secret, or under coercion, or illicitly. The phenomenon of taking Fig. 1 Antonio da Correggio (1489–1534), Notte – The Holy Night. Oil on poplar wood, private possession of sacred paintings, 256.5 x 188 cm. Gemäldegalerie Alte Meister. Dresden, Gal. Nr. 152. 155 Art Bulletin of Nationalmuseum Volumes 24–25, 2017–2018 THE TESSIN LECTURE/IN THE BREACH OF DECORUM: PAINTING BETWEEN ALTAR AND GALLERY Fig 2 Andrea Del Sarto (1486–1530), Annunciation. Oil on panel, 96 x 189 cm. Palazzo Pitti, Florence, Palatina, n. 163 (1912). most strikingly altarpieces, exposes a and discomfort of this passage. If it may collectors to survive in their sacred moment of disequilibrium in the function first seem like the question is one of altar- setting and that their desire was a force and value of painting. You may be struck, piece or masterpiece, the answer may be, cloaked in rejection. as I was, by the words introducing this in the end, altarpiece and masterpiece. The spate of purportedly “rejected” essay, by the repeated prefixdis – disequi- The context – in fact, the crucial paintings from churches around 1600 librium, disturbance, disruption, displa- impetus – of this transfer from sacred to coincides with the moment when the cement, discomfort, dissembled – a prefix secular setting was collecting, especially phenomenon of collections of paintings that thematizes a reversing, sundering a mentality of collecting that prized the became highly prominent all over Italy force at work. A critical examination of aesthetic and authorial aspects of pain- and markedly in Rome. Such collecting some of these transactions revises our ting. This essay argues that it is necessary for private display introduced a new interpretation of some famous episodes to recognize the agency of collecting, as instability and a new set of values into a of art history. This essay considers, on exemplified by the most dramatic and centuries-old system of patronage. In this the one hand, how such transfers created notorious transfers of paintings from destabilization can be seen the tradition of a new problem of how to deal with the church to gallery: the several works by the commission per se colliding head-on absence left behind in a chapel when an Michelangelo Merisi da Caravaggio with the nascent art market. A working altarpiece departs and, on the other hand, traditionally regarded in the literature as out of principles can be traced for what how to accommodate a painting designed having been rejected for their intended is proper or unacceptable for display in for public devotion in the secular setting of chapel. A critical reading of the historical an ecclesiastical setting and, concomi- a private palace. Notable are some strange record inverts this view, suggesting tantly, what can be permitted for display and improvised responses to the situation instead that Caravaggio’s innovative in a private palace gallery. In a tug of that were symptomatic of the confusion paintings were too avidly desired by war over sacred possessions, values of Art Bulletin of Nationalmuseum Volumes 24–25, 2017–2018 156 THE TESSIN LECTURE/IN THE BREACH OF DECORUM: PAINTING BETWEEN ALTAR AND GALLERY Fig. 3 Albrecht Dürer (1471–1528), Feast of the Rose Garlands, 1506. Oil on wood, 162 x 192 cm. National Gallery in Prague, Prague, O 1552. moral instruction
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