Museo Nacional Del Prado Memoria De Actividades 2018

Total Page:16

File Type:pdf, Size:1020Kb

Museo Nacional Del Prado Memoria De Actividades 2018 Memoria de Actividades 2018 nipo: 829-19-071-3 Museo Nacional del Prado Memoria de Actividades 2018 ministerio de cultura y deporte Madrid 2019 Órganos rectores del Museo del Prado en 2018 Conforme al art. 4 de la Ley 46/2003 reguladora del Museo Nacional del Prad Órganos rectores del Museo del Prado en 2018 Conforme al art. 4 de la Ley 46/2003 reguladora del Museo Nacional del Prad presidencia del organismo Sr. D. Alfredo Pérez de Armiñán y de la Serna Presidente del Consejo de Administración de Sr. D. José Guirao Cabrera Patrimonio Nacional Ministro de Cultura y Deporte Sr. D. Carlos Zurita, Duque de Soria Presidente de la Fundación Amigos del Museo del Prado real patronato Sr. D. Fernando de Terán Troyano Presidencia de Honor Director de la Real Academia de Bellas Artes de SS.MM. los Reyes de España San Fernando Presidente Sra. Dª. Carmen Iglesias Cano Sr. D. José Pedro Pérez-Llorca Directora de la Real Academia de la Historia Vicepresidenta Sra. Dª Amelia Valcárcel y Bernaldo de Quirós Vocales designados Sr. D. César Alierta Izuel Vocales natos Sr. D. Antonio Bonet Correa Sr. D. Ángel Garrido García Sra. Dª. Pilar del Castillo Vera Presidente de la Comunidad Autónoma de Madrid Sr. D. Luis Alberto de Cuenca y Prado Sr. D. Guillermo de la Dehesa Romero Sra. Dª. Manuela Carmena Castrillo Sr. D. Jose Manuel Entrecanales Domecq Alcaldesa del Excelentísimo Ayuntamiento de Sr. D. Isidro Fainé Casas Madrid Sr. D. Tomás Ramón Fernández Rodríguez Sr. D. Álvaro Fernández-Villaverde y Silva, Sr. D. José Antonio Benedicto Iruiñ Marqués de Santa Cruz Secretario de Estado de Función Pública Sr. D. Víctor García de la Concha Sra. Dª. Carmen Giménez Martín Sra. D.ª Mª José Gualda Romero Sr. D. Francisco González Rodríguez Secretaria de Estado de Presupuestos y Gastos Sra. Dª. María Dolores Jiménez-Blanco y Carrillo de Albornoz Sr. D. Javier García Fernández Sra. Dª. Alicia Koplowitz y Romero de Juseu Subsecretario de Cultura y Deporte Sr. D. Emilio Lledó Iñigo Sr. D. Rafael Moneo Vallés Sr. D. Román Fernández-Baca Sra. D.ª Anabel Morillo León Director General de Bellas Artes Sr. D. Jean-Paul Rignault Sra. Dª. Ana Mª Ruiz Tagle Sr. D. Juan Tejedor Carnero Sr. D. Jose Ignacio Sánchez Galán Director General del Patrimonio del Estado Sr. D. Eduardo Serra Rexach Sr. D. Javier Solana de Madariaga Sr. D. Miguel Falomir Faus Director del Museo Nacional del Prado Patronos de Honor Sr. D. Plácido Arango Arias Sra. Dª. Helena Cambó de Guardans Sr. D. José Mª Castañé Ortega Sir John Elliott Sr. D. Carlos Fitz-James Stuart y Martínez de Irujo, XIX Duque de Alba Mr. Philippe de Montebello Sra. Dª. María Várez Benegas Secretaria Sra. Dª María Dolores Muruzábal Irigoyen dirección del museo Director Sr. D. Miguel Falomir Faus Directora Adjunta de Administración Sra. Dª. Marina Chinchilla Gómez Director Adjunto de Conservación Sr. D. Andrés Úbeda de los Cobos Objetivos y fines* El Museo Nacional del Prado tiene como objetivo la consecución de los siguientes fines: a) Garantizar la protección y conservación, así como promover el enriquecimiento y me- jora de los bienes del Patrimonio Histórico Español adscritos al mismo. b) Exhibir ordenadamente las colecciones en condiciones adecuadas para su contempla- ción y estudio. c) Fomentar y garantizar el acceso a las mismas del público y facilitar sus estudios a los investigadores. d) Impulsar el conocimiento y difusión de las obras y de la identidad del patrimonio his- tórico adscrito al Museo, favoreciendo el desarrollo de programas de educación y activi- dades de divulgación cultural. e) Desarrollar programas de investigación y formación de personal especializado y esta- blecer relaciones de colaboración con otros museos, universidades o instituciones cultu- rales, organizando exposiciones temporales y desarrollando acciones conjuntas para el cumplimiento de sus fines. Dichas relaciones de colaboración se desarrollarán preferentemente con las institu- ciones dependientes o vinculadas a las Administraciones públicas, prestando especial atención a aquellas con mayor relevancia y proyección en el ámbito museístico. f) Prestar los servicios de asesoramiento, estudio, información o dictamen de carácter científico o técnico que le sean requeridos por los órganos competentes de la Adminis- tración General del Estado o que se deriven de los convenios o contratos otorgados con entidades públicas o privadas, con personas físicas, en las condiciones y con los requisitos que reglamentariamente se determinen. * Artículo 3 de la Ley 46/2003, de 25 de noviembre, reguladora del Museo Nacional del Prado. carta del presidente del real patronato y del director del museo Esta carta tiene como objetivo presentar el amplio abanico de actividades que el Museo Nacional del Prado ha desarrollado a lo largo de 2018, y de las que se da cuenta en esta extensa memoria. El año 2018 ha sido un año muy especial para la institución por lo que ha supuesto de trabajos de preparación y lanzamiento de nuestro Bicente- nario, efeméride que se está viviendo con todo su esplendor en 2019. En esa línea de trabajo preparatorio, durante 2018, cabe inscribir la modificación del organigrama del museo, aprobado por la Comisión Permanente en diferentes sesiones, que dotó al museo de un engranaje administrativo y técnico con capacidad de respuesta ante la gran variedad y cantidad de actividades que debían celebrarse durante el Bicentenario. Esta modificación se tradujo, entre otras medidas, en la creación de las nuevas Coordinaciones Generales de Recursos Humanos, Infraestruc- turas y Equipamientos y Desarrollo de Públicos y Seguridad en la Dirección Adjunta de Administración, así como otra de Educación en la Dirección Adjunta de Conser- vación e Investigación, en donde además se fortaleció el Área de Pintura Española hasta 1800. Esta modificación estructural ha ido ligada a la incorporación de nuevos perfiles profesionales que, bajo renovadas directrices, han sido una de las claves para poder seguir desarrollando con éxito los Programas trazados en el Plan de Actuación 2017-2020. Un año más, la Colección se ha enriquecido con diferentes obras de gran cali- dad e interés para el museo, pero quizás merezca resaltarse la obra Retrato de niña con paloma, de Simon Vouet, no sólo por ser una obra de indudable valor pictórico, y por su particular vinculación con otra obra del museo, sino por haber sido adquirida con los fondos procedentes de la primera campaña de micromecenazgo llevada a cabo por el museo. Esta iniciativa buscaba acercar el museo a los españoles y hacerles aún más partícipes de su actividad. La campaña se desarrolló entre septiembre y diciembre de 2018 y recaudó doscientos cuatro mil euros, gracias a las aportaciones de más de 6.500 donantes. Esta idea de apertura del museo y de acercamiento a todos los españoles ha estado muy presente a lo largo de todo el año y, especialmente, desde el inicio de las conme- moraciones del Bicentenario, el 19 de noviembre de 2018, fecha en la que Sus Majesta- des los Reyes abrieron oficialmente la celebración del Bicentenario con la inauguración de la exposición Museo del Prado 1819-2019. Un lugar de memoria, muestra que recorrió la historia, avatares y significación de la institución. En esa misma fecha se alcanzó uno de los más importantes hitos en la cobertura mediática del Museo, como fue la emisión por Televisión Española del informativo de las 21 horas desde la sala 12, frente a las Meninas de Velázquez, con una dedicación al Museo de más de 20 minutos, y una audiencia de 2.043.000 espectadores. También ese mismo día se marcó otro de los grandes hitos de la historia del Museo, como fue ese momento tan entrañable en el que todo el personal del museo, de forma absolutamente espontánea, entono el “cumpleaños feliz”, frente a una fachada envuelta en andamios y lonas que reproducían fragmentos de tejidos de obras maestras, imagen que, igualmente, fue ampliamente recogido por todos los medios de comunicación. Con posterioridad, los días 23, 24 y 25 de noviembre de 2018, se celebraron unas jor- nadas de puertas abiertas, además de vivirse una de las noches más especiales e inédi- tas en los 200 años de historia del Museo, la noche del 24 de noviembre de 2018, en la que, frente a la Puerta de Velázquez del edificio Villanueva, se celebró un espectáculo de fuegos artificiales, videomapping y artes vivas para todos los ciudadanos. Tampoco se deben olvidar las grandes exposiciones celebradas en el museo duran- te este año: Rubens. Pintor de Bocetos, Lorenzo Lotto. Retratos o Bartolomé Bermejo, entre otras, a las que se han sumado nuevas exposiciones que, ya en el marco del programa conmemorativo del Bicentenario, han querido enfatizar el carácter nacional del Museo del Prado y acercar sus obras a todos los ciudadanos mediante la celebración de exhibi- ciones en las 17 Comunidades Autónomas y dos Ciudades Autónomas, en el marco de los proyectos “De Gira por España” y “El Prado en las calles”. En términos económicos , a pesar de la difícil situación presupuestaria, el ejercicio se cerró por segundo año consecutivo con un resultado presupuestario positivo, ge- nerando 1,7 millones de Remanente de Tesorería, y con un nivel de autofinanciación del 66%, lo que refuerza la solidez de las cuentas del Museo y le permite asumir sus responsabilidades económicas para la consecución del Proyecto de rehabilitación y adecuación museística del Salón de Reinos; ambicioso proyecto en el que se ha conti- nuado trabajando en paralelo a la realización de una serie de estudios técnicos sobre las pinturas murales del Salón de Reinos, el forjado de la planta tercera y la sala árabe. Sin olvidar la financiación a cargo del presupuesto del museo del inicio de las obras de emergencia en las fachadas del edificio Villanueva, cuyo fin ha sido la consolida- ción de sus elementos pétreos en cornisamentos y voladizos para evitar el peligro de las personas y asegurar la integridad del edificio.
Recommended publications
  • Il Tempo Di Caravaggio. Capolavori Della Collezione
    COMUNICATO STAMPA Prorogata al 10 gennaio 2021 la mostra “Il tempo di Caravaggio. Capolavori della collezione di Roberto Longhi” ai Musei Capitolini Altri 4 mesi per ammirare il famoso Ragazzo morso da un ramarro di Caravaggio e oltre quaranta dipinti di artisti della sua cerchia, provenienti dalla raccolta del grande storico dell’arte e collezionista Roberto Longhi Roma, 08 settembre 2020 – È stata prorogata fino al 10 gennaio 2021 la mostra “Il tempo di Caravaggio. Capolavori della collezione di Roberto Longhi”, allestita nelle sale espositive di Palazzo Caffarelli ai Musei Capitolini e aperta al pubblico il 16 giugno. L’esposizione, accolta con grande favore dal pubblico e dalla critica, è promossa da Roma Capitale, Assessorato alla Crescita culturale - Sovrintendenza Capitolina ai Beni Culturali e dalla Fondazione di Studi di Storia dell’Arte Roberto Longhi. Curata da Maria Cristina Bandera, Direttore scientifico della Fondazione Longhi, la mostra è organizzata da Civita Mostre e Musei e Zètema Progetto Cultura. Il catalogo è di Marsilio Editori. L’ingresso è gratuito per i possessori della MIC card. L’esposizione è aperta al pubblico nel rispetto delle linee guida formulate dal Comitato Tecnico Scientifico per contenere la diffusione del Covid-19 consentendo, al contempo, lo svolgimento di una normale visita museale. L’esposizione è dedicata alla raccolta dei dipinti caravaggeschi del grande storico dell’arte e collezionista Roberto Longhi (Alba 1890 – Firenze 1970), una delle personalità più affascinanti della storia dell’arte del XX secolo, di cui ricorre quest’anno il cinquantenario della scomparsa. Nella sua dimora fiorentina, villa Il Tasso, oggi sede della Fondazione che gli è intitolata, raccolse un numero notevole di opere dei maestri di tutte le epoche che furono per lui occasione di ricerca.
    [Show full text]
  • Susan Deans-Smith ______• Department of History, the University of Texas at Austin, 128 Inner Campus Dr
    1 Susan Deans-Smith ______________________________________________________________________________ • Department of History, The University of Texas at Austin, 128 Inner Campus Dr. Stop B7000, Austin, TX 78712-0220 • • https://susandeans-smith.com • • e-mail: [email protected] • –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Professional Experience: •1991-present Associate Professor, Colonial Latin American History, Department of History, University of Texas at Austin •2016-present Associate Chair Department of History, University of Texas at Austin •2015 Interim Associate Chair, Department of History, University of Texas at Austin (spring semester) •1998-2000 Associate Chair, Department of History, University of Texas at Austin •1993-1995 Associate Director, Lozano Long Institute of Latin American Studies, University of Texas at Austin •1989 Visiting Professor, Department of History, University of California at Berkeley, Fall Semester •1984-1991 Assistant Professor, Colonial Latin American History, Department of History, University of Texas at Austin •1985 Visiting Scholar, National Autonomous University of Mexico/Centre of Mexican Studies, University of Texas •1983-84 Visiting Scholar, Department of History, University of Texas at Austin •1982-83 Residential Research Fellow, St Edmund's College, Cambridge University •1982-83 Lecturer, Faculty of Modern and Mediaeval Languages Cambridge University Education: •1979-1984 Ph.D., Cambridge University; Dissertation: "The Gentle and Easy Tax" - the Bourbons and the Royal Tobacco Monopoly of New Spain, 1765-1821”. Supervised by Dr. D. A. Brading •1978-1979 M.Phil., Cambridge University, Latin American Studies (Major in History, Minor in Rural Sociology) (Newnham College) •1974-1978 B.A., University of Warwick, First Class Honors in Comparative American Studies •Languages: Spanish; basic reading skills in Nahuatl, Portuguese and French Publications: Books: Spanish edition with a new introduction of Bureaucrats, Planters, and Workers, Burócratas, cosecheros y trabajadores.
    [Show full text]
  • Winter Dialogue-Final-2
    Docent Council Dialogue Winter 2013 Published by the Docent Council Volume XLIIl No 2 From Ethereal to Earthy The Legacy of Caravaggio 1 Inside the Dialogue Reflections on a Snowy Morning.......................Diane Macris, President, Docent Council Page 3 Winter Message..................................................Charlene Shang Miller, Docent and Tour Programs Manager Page 3 A Docent’s Appreciation of Alona Wilson........................................................JoAn Hagan, Docent Page 4 An Idea whose Time had Come................................Sandy Voice Page 5 Presentations:Works of Art from Burst of Light ......Docent Contributors Pages 7-20 The Transformative Genius of Caravaggio...............JoAn Hagan Page10 Flicks: The Dialogue Goes to the Cinema....................................................Sandy Voice Page 10 A Docent’s Guide to the Saints..................................Beth Malley Page 11 From the Sublime to the Ridiculous and Back..........Hope Vath Page 13 The Bookshelf: A Book Review.................................BethMalley Page 15 A Passion for Stickley ...............................................Laura Harris Page 20 From the Collection of Stephen Gray Docent Council Dialogue The Dialogue is created by and for docents and provides a forum for touring ideas and techniques, publishing information that is vital to docent interests such as museum changes, and recording docent activities and events. The newsletter is published in Fall, Winter, and Spring editions. Editorial Staff Sandy Voice Co-Editor
    [Show full text]
  • ARTEMISIA GENTILESCHI ARTEMISIA ARTEMISIA GENTILESCHI E Il Suo Tempo
    ARTEMISIA GENTILESCHI ARTEMISIA GENTILESCHI e il suo tempo Attraverso un arco temporale che va dal 1593 al 1653, questo volume svela gli aspetti più autentici di Artemisia Gentileschi, pittrice di raro talento e straordinaria personalità artistica. Trenta opere autografe – tra cui magnifici capolavori come l’Autoritratto come suonatrice di liuto del Wadsworth Atheneum di Hartford, la Giuditta decapita Oloferne del Museo di Capodimonte e l’Ester e As- suero del Metropolitan Museum di New York – offrono un’indagine sulla sua carriera e sulla sua progressiva ascesa che la vide affermarsi a Firenze (dal 1613 al 1620), Roma (dal 1620 al 1626), Venezia (dalla fine del 1626 al 1630) e, infine, a Napoli, dove visse fino alla morte. Per capire il ruolo di Artemisia Gentileschi nel panorama del Seicento, le sue opere sono messe a confronto con quelle di altri grandi protagonisti della sua epoca, come Cristofano Allori, Simon Vouet, Giovanni Baglione, Antiveduto Gramatica e Jusepe de Ribera. e il suo tempo Skira € 38,00 Artemisia Gentileschi e il suo tempo Roma, Palazzo Braschi 30 novembre 2016 - 7 maggio 2017 In copertina Artemisia Gentileschi, Giuditta che decapita Oloferne, 1620-1621 circa Firenze, Gallerie degli Uffizi, inv. 1597 Virginia Raggi Direzione Musei, Presidente e Capo Ufficio Stampa Albino Ruberti (cat. 28) Sindaca Ville e Parchi storici Amministratore Adele Della Sala Amministratore Delegato Claudio Parisi Presicce, Iole Siena Luca Bergamo Ufficio Stampa Roberta Biglino Art Director Direttore Marcello Francone Assessore alla Crescita
    [Show full text]
  • 1 Caravaggio and a Neuroarthistory Of
    CARAVAGGIO AND A NEUROARTHISTORY OF ENGAGEMENT Kajsa Berg A thesis submitted in fulfilment of the requirements For the degree of Doctor of Philosophy University of East Anglia September 2009 © This copy of the thesis has been supplied on the condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author’s prior written consent. 1 Abstract ABSTRACT John Onians, David Freedberg and Norman Bryson have all suggested that neuroscience may be particularly useful in examining emotional responses to art. This thesis presents a neuroarthistorical approach to viewer engagement in order to examine Caravaggio’s paintings and the responses of early-seventeenth-century viewers in Rome. Data concerning mirror neurons suggests that people engaged empathetically with Caravaggio’s paintings because of his innovative use of movement. While spiritual exercises have been connected to Caravaggio’s interpretation of subject matter, knowledge about neural plasticity (how the brain changes as a result of experience and training), indicates that people who continually practiced these exercises would be more susceptible to emotionally engaging imagery. The thesis develops Baxandall’s concept of the ‘period eye’ in order to demonstrate that neuroscience is useful in context specific art-historical queries. Applying data concerning the ‘contextual brain’ facilitates the examination of both the cognitive skills and the emotional factors involved in viewer engagement. The skilful rendering of gestures and expressions was a part of the artist’s repertoire and Artemisia Gentileschi’s adaptation of the violent action emphasised in Caravaggio’s Judith Beheading Holofernes testifies to her engagement with his painting.
    [Show full text]
  • Reading Paintings: the Inscriptions in the Painted in Mexico, 1700-1790: Pinxit Mexici Exhibition Analyzed Through the Lens of Mieczysław Wallis
    READING PAINTINGS: THE INSCRIPTIONS IN THE PAINTED IN MEXICO, 1700-1790: PINXIT MEXICI EXHIBITION ANALYZED THROUGH THE LENS OF MIECZYSŁAW WALLIS Item Type text; Electronic Thesis Authors Hormel, Ana Lucia Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 10:12:19 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/637055 READING PAINTINGS: THE INSCRIPTIONS IN THE PAINTED IN MEXICO, 1700-1790: PINXIT MEXICI EXHIBITION ANALYZED THROUGH THE LENS OF MIECZYSŁAW WALLIS By ANA LUCIA HORMEL ____________________ A Thesis SubmitteD to The Honors College In Partial Fulfillment of the Bachelor’s Degree With Honors in Art History THE UNIVERSITY OF ARIZONA A U G U S T 2 0 1 9 ApproveD by: ____________________________ Dr. Stacie WiDDifielD Department of Art History Contents Abstract ............................................................................................................................................................... 1 Acknowledgements .............................................................................................................................................. 2 1. Introduction ...................................................................................................................................................
    [Show full text]
  • L'école Du Regard
    vers 1596 - 1597, huile sur toile, sur toile, huile - 1597, 1596 vers Jeune garçon mordu par un lézard, par mordu un lézard, garçon Jeune Michelangelo Marisi, dit Caravage, Marisi, dit Caravage, Michelangelo Roberto Longhi di Studi Storia dell’Arte Florence, Fondazione L’école du regard Caravage et les peintres caravagesques dans la collection Roberto Longhi LE CHÂTEAU , 14000 CAEN, 02 31 30 47 70 MBA.CAEN.FR SOMMAIRE Communiqué de presse Fondation Roberto Longhi Roberto Longhi : expert, collectionneur et dessinateur Extraits des textes du catalogue : Caravage et les peintres caravagesques dans la collection Roberto Longhi Maria Cristina Bandera Caravage dans le parcours critique de Roberto Longhi Mina Gregori Parcours de l’exposition et photos disponibles pour la presse Liste complète des oeuvres Biographie de Roberto Longhi Le musée des Beaux-Arts de Caen Informations pratiques et contacts presse 29 mai - 17 octobre 2021 L’école du regard CARAVAGE ET LES PEINTRES CARAVAGESQUES DANS LA COLLECTION ROBERTO LONGHI En partenariat avec la Fondation Roberto Longhi Éminent historien de l’art, Roberto Longhi (1890-1970) a consacré la plus grande part de ses études à Caravage et aux artistes qui ont assimilé sa leçon, depuis sa thèse, soutenue en 1911 à l’Université de Turin, jusqu’à la monographie publiée en 1952 à la suite de la grande exposition Mostra del Caravaggio e dei Caravaggeschi organisée à Milan en 1951. Il a été Carlo Saraceni, l’un des premiers à définir le style direct et naturaliste du maître lombard, à évoquer son Judith avec la tête univers poétique et le rôle fondamental que joue la lumière dans ses tableaux, à saisir enfin d’Holopherne, vers la portée révolutionnaire d’un art qui fut adopté et divulgué par nombre de peintres italiens 1618, huile sur toile et étrangers.
    [Show full text]
  • Bollettino D'arte
    MiniStero dei Beni e delle AttiVità CUltUrAli e del tUriSMo © Bollettino d’Arte Estratto dal Fascicolo N. 16 – ottobre-dicembre 2012 (Serie VII) AdriAno AMendolA lA CAPPellA dellA PASSione in SAntA MAriA in AqUiro: il Vero noMe di MAStro JACoMo De Luca eDitori D’arte AdriAno AmendolA lA cAppellA dellA pAssione in sAntA mAriA in Aquiro: il vero nome di mAstro JAcomo intorno alla metà degli anni trenta del seicento, di nuta in due trance tra il dicembre 1633 e il gennaio fronte ai luoghi che videro protagonista carlo sarace- 1634.5) il 18 luglio 1634 è annotato: ni nella chiesa di santa maria in Aquiro, si conclude- «scudi sessanta di moneta (...) pagati a mastro Jacomo vano i lavori nella seconda cappella a sinistra detta massa pittore portò conto disse à conto del prezzo convenu- della passione, rimasta piuttosto integra nel suo aspet- to con esso [Francesco Giordano] per le pitture che doverà to seicentesco. il committente, l’oleario Francesco piz- fare nella sudetta cappella».6) il successivo 25 maggio 1635 zichetti, nel suo testamento rogato il 25 ottobre 1629 Giordano versa ulteriori 90 scudi «di ordine di monsignor nominò tutori della figlia cecilia, Francesco Giordano vannini Giudice della compagnia degl’orfani sottoscritto e luca tartaglia, incaricati di sovrintendere ai lavori da esso Giordani pagati a Jacomo massa pittore portò conto di decorazione di una cappella situata in santa maria disse per il prezzo convenuto con esso per le pitture fatte in traspontina, chiesa mutata con un codicillo del nella cappella posta nella chiesa degl’orfani et resa la 7) giorno seguente in favore di santa maria in Aquiro.1) nostra cedola cassa – s.
    [Show full text]
  • Caravaggio, Second Revised Edition
    CARAVAGGIO second revised edition John T. Spike with the assistance of Michèle K. Spike cd-rom catalogue Note to the Reader 2 Abbreviations 3 How to Use this CD-ROM 3 Autograph Works 6 Other Works Attributed 412 Lost Works 452 Bibliography 510 Exhibition Catalogues 607 Copyright Notice 624 abbeville press publishers new york london Note to the Reader This CD-ROM contains searchable catalogues of all of the known paintings of Caravaggio, including attributed and lost works. In the autograph works are included all paintings which on documentary or stylistic evidence appear to be by, or partly by, the hand of Caravaggio. The attributed works include all paintings that have been associated with Caravaggio’s name in critical writings but which, in the opinion of the present writer, cannot be fully accepted as his, and those of uncertain attribution which he has not been able to examine personally. Some works listed here as copies are regarded as autograph by other authorities. Lost works, whose catalogue numbers are preceded by “L,” are paintings whose current whereabouts are unknown which are ascribed to Caravaggio in seventeenth-century documents, inventories, and in other sources. The catalogue of lost works describes a wide variety of material, including paintings considered copies of lost originals. Entries for untraced paintings include the city where they were identified in either a seventeenth-century source or inventory (“Inv.”). Most of the inventories have been published in the Getty Provenance Index, Los Angeles. Provenance, documents and sources, inventories and selective bibliographies are provided for the paintings by, after, and attributed to Caravaggio.
    [Show full text]
  • REAL ENIGMAS Portraits and Still Lifes of the Poletti Collection and Gallerie Nazionali Barberini Corsini
    ENGLISH REAL ENIGMAS Portraits and still lifes of the Poletti Collection and Gallerie Nazionali Barberini Corsini 1 REAL ENIGMAS GEO POLETTI AND THE REASONS Portraits and still lifes of the Poletti Collection FOR THE EXHIBITION and Gallerie Nazionali Barberini Corsini Curated by Paola Nicita Gallerie Nazionali di Arte Antica – Galleria Corsini 24 October 2019 – 2 February 2020 One of the most renowned 18th-century galleries, owned by Florentine Pope Clement XII and his cultured nephew Cardinal Neri Maria, designed and built by the architect Ferdinando Fuga to house their vast collection of paintings, will be hosting some pieces from the collection of Geo Poletti, educated in Milan, London and Lugano starting in the 1950s. The aim is not to compare the two collections, which are very different in terms of their size, time, places, tastes and styles. Yet there are certainly some surprising similarities. The intention is to reflect on the theme of collecting, both as a practice and as a cultural category, by dis- 9 playing an assortment of pieces belonging to one of the most original contemporary collectors. The exhi- bition also presents some unresolved problems, without wishing to offer any new attributions at all costs, allowing them to remain in anonymity, where names and dates are unknown. This exhibition continues the 8 7 6 5 4 series of shows that Galleria Corsini in Rome has dedicated to collecting, a theme that is fundamental to the identity of Gallerie Nazionali in Rome. For the first time in Rome, the most significant still lifes from the Poletti collection will be on display along with another four paintings from his collection.
    [Show full text]
  • The Case for Giuseppe Vermiglio*
    The Cain and Abel in the National Museum: The case for Giuseppe Vermiglio* John Gash The imposing picture of Cain and Abel in the National Museum of Fine Arts, Valletta (199 x 163.5 em.) (Plates 1,2) has long eluded secure attribution. 1 The picture hung in the Grand Master's palace at least from the early nineteenth century, and bore traditional designations to both Ribera and Caravaggio.2 Modern interest in the work, however, dates from Roberto Longhi's listing of it in 1943, without comment, as a product of one of Caravaggio 's leading Roman-based disciples of the second decade of the seventeenth century, the Mantuan, Bartolomeo Manfredi (1582-1622), to whom he also gave a similar (though by no means identical) Cain and Abel in the Palazzo Pitti.3 But despite the (partial) logic of this judgement (especially in terms of certain aspects of the Valletta picture's facture), and the reverence with which scholars have approached all pronunziamenti from this great connoisseur, no-one any longer believes it to be by Manfredi. In 1970, Evelina Borea, in her exhibition catalogue, Caravaggio e Caravaggeschi nelle Gallerie di Firenze, proposed that the Pitti painting was more likely to be by the Pisan Caravaggist, Orazio Riminaldi ( 1594- 1631 ), who was active in Rome towards the end of the second decade, and hinted, without claiming, that the Malta picture might also be his- a view strongly endorsed by Mina Gregori in 1972.4 Richard Spear, however, acutely rejected the attribution of * My thanks to Maria Rosa Antognazza, Dominic Cutajar, Don Stefano Tardani, and Pamela Willis for their help during the preparation of this article.
    [Show full text]
  • ^ for Immediate Release
    ^ For immediate release Exhibition: Bodies and shadows: Caravaggio and his legacy On view: November 11, 2012-February 10, 2013 location: resnick pavilion LACMA presents the U.S. premiere of BODIES AND SHADOWS: CARAVAGGIO AND HIS LEGACY An unprecedented eight Caravaggio paintings will be on view together for the first time in California (Image captions on page 6 ) (Los Angeles—October 26, 2012)—The Los Angeles County Museum of Art (LACMA) is pleased to present Bodies and Shadows: Caravaggio and His Legacy, an exhibition devoted to the legacy of Michelangelo Merisi da Caravaggio (1571 – 1610), one of the most influential painters in European history. The exhibition was co-organized by LACMA, the Musée Fabre, Montpellier, the Musée des Augustins, Toulouse, and the Wadsworth Atheneum Museum of Art, under the auspices of FRAME (French Regional American Museum Exchange), an international consortium to which all four museums belong. Caravaggio’s striking realism, violent contrasts of light and darkness, and ability to express powerful emotions were as surprising to his contemporaries as they are to us today. In this exhibition many of the innovations introduced by Caravaggio were adopted by painters from different countries, backgrounds, and influences. In this exhibition an unprecedented eight paintings by Caravaggio himself will be shown together for the first time in California. Fifty more paintings document his influence on a host of painters from France, Spain, and the Netherlands, including Georges de La Tour, Gerrit van Honthorst, Velázquez, and Simon Vouet. “The four-hundredth anniversary of Caravaggio’s death in 2010 triggered many exhibitions throughout the world. These have generated new scholarship, reattributions of paintings and an ongoing fascination with Caravaggio and the Caravaggesque painters,” says J.
    [Show full text]