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La Rinascita Dell'arte Musiva in Epoca Moderna

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La Rinascita Dell'arte Musiva in Epoca Moderna La rinascita dell’arte musiva in epoca moderna in Europa. La tradizione del mosaico in Italia, in Spagna e in Inghilterra Ottobrina Voccoli ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tesisenxarxa.net) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tesisenred.net) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. En la utilización o cita de partes de la tesis es obligado indicar el nombre de la persona autora. WARNING. On having consulted this thesis you’re accepting the following use conditions: Spreading this thesis by the TDX (www.tesisenxarxa.net) service has been authorized by the titular of the intellectual property rights only for private uses placed in investigation and teaching activities. Reproduction with lucrative aims is not authorized neither its spreading and availability from a site foreign to the TDX service. Introducing its content in a window or frame foreign to the TDX service is not authorized (framing). This rights affect to the presentation summary of the thesis as well as to its contents. In the using or citation of parts of the thesis it’s obliged to indicate the name of the author. LA RINASCITA DELL’ARTE MUSIVA IN EPOCA MODERNA IN EUROPA. LA TRADIZIONE DEL MOSAICO IN ITALIA, IN SPAGNA E IN INGHILTERRA OTTOBRINA VOCCOLI Tesi di Dottorato – 2009 Dottoranda: Ottobrina Voccoli Direttore di tesi: Mireia Freixa i Serra. Programma di Dottorato: Historia, teoría y crítica de las artes. Biennio accademico 2002-2004. Dipartimento di Storia dell’Arte dell’Università di Barcellona. NOTA AI LETTORI DA PARTE DELL’AUTRICE Sono spiacente di informare che per motivi inerenti alle restrizioni di diritto di autore e di riservatezza di luoghi religiosi, la pubblicazione del presente saggio non ha potuto riprodurre le illustrazioni annesse in origine alla redazione del testo e presentate durante la discussione ufficiale in sede accademica. SOMMARIO PROLOGO LA TRADIZIONE DEL MOSAICO IN EUROPA......................................VII CAPITOLO 1 IL RISVEGLIO DELL’ARTE MUSIVA IN ITALIA.......................................1 1.1. Lo Studio del Mosaico Vaticano e le sue origini..............................3 1.2. La decorazione musiva della Basilica di San Pietro: alcune descrizioni .........................................................................................13 1.3. Lo Studio del Mosaico Vaticano durante il XVIII ed il XIX secolo. Il mosaico minuto .................................................................................18 1.4. Altri centri di produzione musiva................................................ 31 1.5. L’Opificio delle Pietre Dure di Firenze ..........................................36 CAPITOLO 2. LA TRADIZIONE MUSIVA VATICANA E FIORENTINA FUORI DALL’ITALIA.......................................................................................43 2.1. La tradizione musiva fiorentina e vaticana in Francia ..................45 2.2. San Pietroburgo: il laboratorio musivo di Lomonosov ed il mecenatismo dello zar Nicola I ...........................................................54 2.3. Opifici delle pietre dure in terre germaniche.................................64 I 2.4. La reintroduzione del mosaico in Spagna: il laboratorio di mosaico di pietre dure della “Fábrica del Buen Retiro”......................................67 CAPITOLO 3 ARTE E INDUSTRIA NEL XIX SECOLO ..…………………….............................83 3.1. Pianificazioni delle industrializzazioni nazionali: la rivalutazione delle arti decorative in Inghilterra e nel resto d’Europa .......................85 3.2. Le esposizioni periodiche..............................................................92 3.3. Testimonianze musive nei cataloghi delle esposizioni ottocentesche di Barcellona e la documentazione relativa all’Esposizione Universale del 1888...................................................................................................98 CAPITOLO 4 L’ARTE MUSIVA IN INGHILTERRA DURANTE LA PRIMA METÀ DEL XIX SECOLO...........................................................................................109 4.1. Rivalorizzazione del patrimonio musivo internazionale nel contesto storico del Gothic Revival. I primi esperimenti di Arte Musiva in Inghilterra........................................................................................111 4.2. Le decorazioni musive nel Palazzo di Westminster....................120 CAPITOLO 5 L’ARTE MUSIVA TRA ITALIA E INGHILTERRA NEL XIX SECOLO......133 5.1. Influenze artistiche veneziane nella cultura inglese: l’attività imprenditoriale di Antonio Salviati ed i restauri musivi nella Basilica di San Marco........................................................................................135 5.2. I mosaici della cattedrale di Saint Paul’s....................................164 5.3. Henry Cole e la scuola di arti applicate del Museo di South Kensington.......................................................................................224 II 5.4. Lo sviluppo dell’arte musiva in Inghilterra: il ruolo dell’ Istituto Reale degli Architetti Britannici (RIBA) negli edifici religiosi e civili.................................................................................................261 CAPITOLO 6 NAZIONALISMO E MOSAICO IN GERMANIA NEL XIX SECOLO.........301 6.1. Riscoperta dell’arte bizantina nel regno di Ludwig I di Baviera, Federico Gulielmo IV di Prussia e Ludwig II di Baviera......................303 6.2. L’attività di Antonio Salviati in Germania ed altri laboratori di produzione musiva...........................................................................314 6.3. Decorazioni musive in edifici tardo-storicisti..............................325 CAPITOLO 7 TESTIMONIANZE MUSIVE DI ARTISTI ITALIANI IN EDIFICI RELIGIOSI CATALANI IN EPOCA PROTO-MODERNISTA.....................................333 7.1. Gli anni intorno all’esposizione del 1888....................................335 7.2. Il mosaico nella chiesa di San Paciano (Barcellona),1876- 1881.................................................................................................337 7.3. La chiesa di Sant Francesc di Saleses (Barcellona), 1882- 1885.................................................................................................340 7.4. Gaudí decoratore ......................................................................342 7.5. I mosaici del monastero di Montserrat ......................................347 7.6. Il mosaico della Cripta della Sagrada Famiglia ..........................354 7.7. Casa Vicens (1833-1885)...........................................................356 CAPITOLO 8 IL MODERNISMO CATALANO E L’INTERESSE PER LE ARTI DECORATIVE...................................................................................359 III 8.1. Mosaico e mosaicisti in epoca modernista .................................361 8.2. I mosaici della Casa Amatller ....................................................379 8.3. I mosaici della Università Pontificia di Comillas .........................384 8.4. La decorazione musiva sulla facciata della Antigua Casa Figueras (1877-1878)......................................................................................386 8.5 Mario Maragliano nell’ospedale di Santa Creu e Sant Pau: documentazione e descrizione del rivestimento musivo.....................388 CAPITOLO 9. L’ ARTE MUSIVA IN ITALIA E NEL RESTO D’EUROPA TRA LA FINE DEL XIX E L’INIZIO DEL XX SECOLO......................................................415 9.1. Compagnie musive in Italia tra la fine del XIX e l’inizio del XX secolo...............................................................................................417 9.2. Il mosaico in Europa tra la fine del XIX e l’inizio del XX secolo...............................................................................................449 EPILOGO: ALCUNE CONSIDERAZIONI SULL’ EVOLUZIONE DELL’ARTE MUSIVA DALLA FINE DEL XIX SECOLO ALL’ETÀ CONTEMPORANEA...........................................................................489 INDICE DELLE ABBREVIAZIONI ......................................................505 BIBLIOGRAFIA ................................................................................507 SINTESI DEL TESTO IN LINGUA SPAGNOLA....................................539 IV PROLOGO V VI LA TRADIZIONE DEL MOSAICO IN EUROPA Il
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