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Fabien Benuzzi, Committenze Europee Di Scultura Veneziana Nel

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Fabien Benuzzi, Committenze Europee Di Scultura Veneziana Nel RIHA Journal 0101 | 23 Dec 2014 | Special Issue "Collecting Italian Art North of the Alps" Committenze europee di scultura veneziana nel Settecento. Una panoramica e alcune ipotesi di lavoro Fabien Benuzzi Peer review and editing managed by: !artin "lin# National$useu$# Stockhol$ Reviewers: Francesco Fre''olini# Ste ano (ran'esso Abstract Research on the European success of Venetian art during the 18th century has above all examined the activity of the painters. This paper analyzes the wor s of Venetian sculptors through some important case studies. !ttention is given to several commissions of sculpture from Russia "among them wor s ordered by #eter the $reat from 1%1& to 1%'()* $erman states "#russia, +axony and ,avaria)* +weden and England. The analysis also concerns Venetian intellectuals who played the roles of mediators, such as !nton -aria .anetti and /rancesco !lgarotti. The comparative study of these commissions allows us to formulate hypotheses about who were the most praised sculptors and whether there was a taste for specific artistic tendencies. It seems, for example* that ,ritish clients mainly appreciated classical sculptors li e !ntonio $ai and $iovanni -archiori* in contrast to other countries, where also baro1ue artists were valued. The article also notes the case of !ntonio 2orradini* who operated for several years abroad* in Vienna and Dresden. There is finally also the attempt to outline some ideas and starting points for further research on this topic; among them an en1uiry about taste for Venetian baro1ue sculptures in the 1&th and '5th centuries. Contents Intro'u)ione *e co$$issioni 'ei so+rani europei, *uigi -I.# /ietro il (ran'e e Augusto il Forte *'atti+it1 europea 'i Antonio Corra'ini Il successo 'ella scultura classicista, Antonio (ai e (io+anni !archiori Conclusioni inali Ringra)ia$enti ntroduzione 617 $razie alle ricerche degli ultimi decenni* numerosi progressi sono stati compiuti nel campo della scultura veneziana tra +ei e +ettecento4 i pionieristici tentativi di sistemazione da parte di 2amillo +emenzato* 1uando la materia era ancora 8terra incognita"1* sono stati in seguito ulteriormente affinati dai contributi successivi che hanno portato alla ricostruzione dei cataloghi dei principali scultori attivi sulla scena lagunare dal barocco fino all9avvento di 2anova.' Tra i vari temi suscettibili di un ulteriore approfondimento* appare di particolare interesse un9indagine sul collezionismo e la ricezione di 1ueste opere in Europa; se la scuola veneziana di pittura riscosse nel +ettecento notevole successo oltre i confini della +erenissima anche grazie ai viaggi di 1 2amillo +emenzato* La scultura veneta del Seicento e del Settecento* Venezia 1&::. ' +i pensi alle numerose ricerche sul tema di #aola Rossi a cui si unirono i contributi di -onica 3e Vincenti* +imone $uerriero e altri studiosi periodicamente usciti nell9ultimo ventennio su riviste come Arte Veneta* Saggi e memorie di storia dell'arte e Venezia Arti. #rezioso* per non dire fondamentale* ; tuttora ; il repertorio fotografico curato da !ndrea ,acchi* La scultura a Venezia da Sansovino a Canova* -ilano '555. License: The text of this article is provided under the ter$s o the Creative Co$mons License CC-BY4NC-ND 3.07 RIHA Journal 0101 | 23 Dec 2014 | Special Issue "Collecting Italian Art North of the Alps" pittori come +ebastiano Ricci* $iambattista Tiepolo* #ietro !ntonio Rotari o la vendita ai turisti inglesi delle vedute di 2analetto* si svilupp< parimenti un gusto per la scultura veneta presso importanti clienti europei. =9esempio pi> celebre* e allo stesso tempo meglio studiato* ; indubbiamente 1uella dello zar #ietro il $rande* che ordin< un vero e proprio 8esercito di statue8 per la decorazione del $iardino d9Estate a +an #ietroburgo e di parchi di residenze reali come #eterhof o #u? in. =e vicende di 1uesta commissione* avvenuta tra 1%1: e 1%'@* sono state ricostruite da Aleg Beverov e soprattutto da +ergei !ndrosov* che redasse il catalogo delle sculture giunte in Russia.( Cuesto caso di committenza non rimase isolato e il gusto per la statuaria veneta si diffuse velocemente anche in altri stati europei. Il presente contributo intende 1uindi tracciare la situazione attuale degli studi in materia, presentando un breve excursus attraverso le commissioni e fornendo alcuni spunti preliminari per ricerche successive che avranno l9obiettivo di analizzare in via comparativa la tipologia di committenti e destinatari* eventuali predilezioni per uno stile o artista e infine le vie del commercio* focalizzandosi sul ruolo avuto da agenti e mediatori. -eritevoli di una ricerca, ma esulanti dal presente tema, sono poi le sculture entrate solo in un secondo tempo in collezioni estere tramite il mercato anti1uario. Bon verranno parimenti trattati casi di committenza in territorio alpino* tra i 1uali si possono ricordare le sculture inviate in 2arinzia e +tiria rispettivamente da $iovanni -archiori e $iovanni -aria -orlaiter.D +i ; infine deciso di escludere dal presente contributo !ntonio 2anova* per via della vasta bibliografia giE esistente sulla sua fama europea e per la sua appartenenza ad una diversa stagione artistica rispetto a 1uella vissuta dai suoi predecessori a Venezia.@ 8top9 !e commissioni dei sovrani europei: !uigi " #$ Pietro il %rande e Augusto il Forte 6'7 Il primo caso di una committenza europea ; riportato da Tomaso Temanza nel suo Zibaldon4 secondo l9architetto* autore di preziosi appunti sugli artisti veneziani di +ei e +ettecento* il re di /rancia =uigi FIV avrebbe commissionato sul finire del +eicento a vari scultori veneziani copie di celebri sculture dell9antichitE da destinare a #arigi. Temanza non precisa soggetto e scultori prescelti ricordando soltanto che /rancesco 2abianca ed Geinrich -eyring non consegnarono le opere in tempo. Rimaste nello studio degli scultori* ( Aleg Beverov* 8Buovi materiali per una storia delle sculture decorative del $iardino d9estate8* in: Xenia* 1( "1&8%)* 8@I15&4 Jonstantin VladimiroviK -alinovs i* 8Le relazioni artistiche fra Venezia e +an #ietroburgo nel +ettecento8* Antichità Viva* '' "1&&()* @* D:I@14 +ergei !ndrosov* Pietro il Grande collezionista d'arte veneta* Venezia 1&&&4 +ergei !ndrosov* Petr Veli ij i s ul'"tura #talii$ Pietro il Grande e la scultura italiana* +ankt #etersburg '55D "il catalogo ; alle pagine ((DID1')4 +ergei !ndrosov* 8#ietro il $rande e il collezionismo dell9arte veneziana"* in: #l collezionismo d'arte a Venezia. #l Settecento* ed. Linda ,orean e +tefania -ason Venezia, '55&* 11(I11&. +i rimanda ai primi due contributi di !ndrosov per ulteriore bibliografia sull9argomento. D +i veda la nota 1&. @ #er brevitE si rinvierE agli atti delle +ettimane 2anoviane dedicate ai Committenti e collezionisti di Canova "1* ed. $iuliana Ericani e /ernando -azzocca, ,assano del $rappa '55%4 '* ed. $iuliana Ericani e /ernando -azzocca, ,assano del $rappa '5584 (* ed. $iuliana Ericani e /ernando -azzocca in: Studi %eoclassici* 1* '51(). License: The text of this article is provided under the ter$s o the Creative Co$mons License CC-BY4NC-ND 3.07 RIHA Journal 0101 | 23 Dec 2014 | Special Issue "Collecting Italian Art North of the Alps" vennero poi acquistate dalla famiglia 2orner* nel cui palazzo ; tuttora conservato una versione dell9Antinoo capitolino opera di 2abianca; a 1uesta commissione ; stato poi plausibilmente ricondotto un &rcole 'arnese* firmato da $iovanni 2omin nel $iardino delle Tuileries.: #er via della pedisse1ua fedeltE all9antico insita nello status di copia, la commissione non si pu< certamente motivare con una predilezione per la 9maniera9 veneziana e appare allo stesso tempo curioso che la commissione non fosse stata affidata ai "ensionnaires dell9!cadLmie de /rance a Roma, spesso impegnati come copisti di opere antiche per il sovrano come accadde per i giardini di Versailles. !l riguardo* -assimo De $rassi ipotizza che tale scelta potesse essere dovuta essenzialmente ai bassi prezzi della sculture in vendita a Venezia,% ma probabilmente la ragione ; da ricercarsi altrove* visto che difficilmente uno scultore attivo in laguna era pi> economico di un giovane "ensionnaire4 allo stesso modo* le commissioni affidate dal Re +ole ad un altro scultore già affermato come il fiorentino $iovanni ,attista /oggini rendono improbabile tale ipotesi. Il basso prezzo praticato dagli scultori veneziani trova tuttavia conferma a pi> riprese nella corrispondenza tra lo zar #ietro il $rande e il suo agente a Venezia +avva =u ič VladislaviK detto RaguzinskiM "il Raguseo* dal nome della sua cittE natale)* che gli procacci< numerose opere acquistate in laguna. Bonostante il sovrano fosse in realtE maggiormente interessato alla scultura classica, trov< tuttavia conveniente rivolgersi ad artisti veneziani contemporanei proprio per via del prezzo sorprendentemente basso dei loro lavori.8 -olto probabilmente giocarono un ruolo non secondario anche i canali diplomatici sviluppatisi tra la Russia e la Repubblica Veneta a partire dagli ultimi anni del +eicento* sia a carattere militare "alleanza contro i Turchi) che commerciale* grazie al ruolo svolto da vari diplomatici tra cui l9agente #etr ,e lemišev* anch9egli attivo nell9acquisto di opere d9arte.& 6(7 !ppare poi di un certo interesse verificare se vi fosse da parte del committente un9effettiva preferenza per una determinata corrente artistica. Detto della predilezione dello zar per la scultura classica, possiamo notare come gran parte dei soggetti raffigurati nelle opere commissionate erano ispirati all9antico* fossero figure
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