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ANALECTA ROMANA INSTITUTI DANICI XLIII © 2019 Accademia Di Danimarca ISSN 2035-2506 ANALECTA ROMANA INSTITUTI DANICI XLIII ANALECTA ROMANA INSTITUTI DANICI XLIII 2018 ROMAE MMXVIII ANALECTA ROMANA INSTITUTI DANICI XLIII © 2019 Accademia di Danimarca ISSN 2035-2506 SCIENTIFIC BOARD Karoline Prien Kjeldsen (Bestyrelsesformand, Det Danske Institut i Rom, -30.04.18) Mads Kähler Holst (Bestyrelsesformand, Det Danske Institut i Rom) Jens Bertelsen (Bertelsen & Scheving Arkitekter) Maria Fabricius Hansen (Københavns Universitet) Peter Fibiger Bang (Københavns Universitet) Iben Fonnesberg-Schmidt (Aalborg Universitet) Karina Lykke Grand (Aarhus Universitet) Thomas Harder (Forfatter/writer/scrittore) Morten Heiberg (Københavns Universitet) Michael Herslund (Copenhagen Business School) Hanne Jansen (Københavns Universitet) Kurt Villads Jensen (Stockholms Universitet) Erik Vilstrup Lorenzen (Den Danske Ambassade i Rom) Mogens Nykjær (Aarhus Universitet) Vinnie Nørskov (Aarhus Universitet) Niels Rosing-Schow (Det Kgl. Danske Musikkonservatorium) Poul Schülein (Arkitema, København) Lene Schøsler (Københavns Universitet) Erling Strudsholm (Københavns Universitet) Lene Østermark-Johansen (Københavns Universitet) EDITORIAL BOARD Marianne Pade (Chair of Editorial Board, Det Danske Institut i Rom) Patrick Kragelund (Danmarks Kunstbibliotek) Sine Grove Saxkjær (Det Danske Institut i Rom) Gert Sørensen (Københavns Universitet) Anna Wegener (Det Danske Institut i Rom) Maria Adelaide Zocchi (Det Danske Institut i Rom) Analecta Romana Instituti Danici. — Vol. I (1960) — . Copenhagen: Munksgaard. From 1985: Rome, «L’ERMA» di Bretschneider. From 2007 (online): Accademia di Danimarca. ANALECTA ROMANA INSTITUTI DANICI encourages scholarly contributions within the Academy’s research fields. All contributions will be peer reviewed. Manuscripts to be considered for publication should be sent to: [email protected] Authors are requested to consult the journal’s guidelines at www.acdan.it Contents MAURIZIO PAOLETTI: “Kleom(b)rotos, figlio di Dexilaos, (mi) dedicò”. L’offerta di un atleta vincitore ad Olimpia nel santuario di Francavilla Marittima 7 JAN KINDBERG JACOBSEN, PETER ATTEMA, CARMELO COLELLI, FRANCESCA IppOLITO, GLORIA MITTICA, SINE GROVE SAXKJÆR: The Bronze and Iron Age habitation on Timpone della Motta in the light of recent research 25 DANIEL DAMGAARD: Architectural Terracottas from Etrusco-Italic Temples on the Later Forum of Ostia. Archaic Ostia Revisited 91 CHRISTINE JEANNERET: Making Opera in Migration. Giuseppe Sarti’s Danish Recipe for Italian Opera 111 NIKOLA D. BELLUCCI: Danici sodales. Schow e Zoëga nel carteggio Baffi (e Baffi nel carteggio Zoëga). Analisi e confronti 135 MARIANNE SAABYE: P.S. Krøyer, Pasquale Fosca and the Neapolitan art scene 149 ANNA WEGENER: Italian Translations of Scandinavian Literature in the Interwar Period: A Bibliographic Overview 179 Reports: GLORIA MITTICA & NICOLETTA PERRONE: Espressioni votive e rituali nel Santuario arcaico di Timpone della Motta. Le novità dagli scavi DIR 2017 237 DOMENICO A. M. MARINO & CARMELO COLELLI: Crotone. Lo scavo urbano di Fondo Gesù 265 P.S. Krøyer, Pasquale Fosca and the Neapolitan art scene by MARIANNE SAABYE Abstract. The article addresses the relationship between the Danish painter P.S. Krøyer (1851–1909) and the Italian sculptor Pasquale Fosca (1852–1928). They met in 1880, shared a studio in Naples for a few months and maintained a lifelong acquaintance ever since, as is evident from thirty hitherto unpublished letters. This material, in conjunction with the recent emergence of works held in private collections, has made it possible to shed new light on this previously quite unknown sculptor’s work. Through exhibitions in Paris and Turin, Krøyer was familiar with works by artists associated with the Neapolitan Verismo style. He was a great admirer of several Verismo artists, which were affiliated with the city’s art scene and as such also part of Fosca’s background. Although Krøyer’s stay in Naples was brief, it expanded his knowledge of Neapolitan art and helped him form an impression of specific themes and the bright southern light that would be part of the backdrop for his further development. Introduction contribute new information about the two While staying in Italy in 1880, the young artists. Danish artist P.S. Krøyer (1851-1909) became The general awareness and knowledge acquainted with Pasquale Fosca (1852-1928), of Pasquale Fosca and his work has been a Neapolitan sculptor belonging to the same relatively modest in scope, based mainly generation. The two men formed a lasting on contemporary exhibition lists and older friendship that only ended with the death of printed sources, and many of his works have Krøyer; a friendship documented by the letters, been unknown to scholars. As is stated in the thirty in all, found among Krøyer’s surviving catalogue for the Il Bello o il Vero exhibition papers at The Hirschsprung Collection in of sculptures presented in Naples in 2014-15, Copenhagen. The correspondence available Fosca never won great fame on the Neapolitan to us is one-sided: only Fosca’s letters survive art scene.1 However, a range of works in private today. However, they do at times directly ownership have emerged, displaying a quality reflect the contents of the letters that the that reaffirms the merits of seeking to throw Danish painter had sent to him. Never new light upon the sculptor’s endeavours, previously published, this collection of letters examining them against the backdrop of the constitutes valuable source material that can letters. 1 Saut 2014, 508. 150 MARIANNE S AABYE It should be noted that this effort does under the French painter Léon Bonnat (1833- not denote an attempt at creating a complete 1922), and his travels also included long inventory of the works of Fosca; the material sojourns in Spain and Brittany. Crucially, he available is as yet too sparse and too difficult had become acquainted with the most recent to manage for such an undertaking – partly tendencies in the realm of art at the Paris due to the fact that the dating currently Salons and at the 1878 World Exposition. associated with his sculptures pertain to the In October of 1879, partly funded by his time at which they were cast, not when they friend and patron, the art collector Heinrich were originally created, which may be many Hirschsprung (1835-1908), Krøyer travelled years previously. What is more, the titles of to Italy and spent the winter in Rome. some works appear to have changed over the In mid-April 1880, Krøyer spent a few time, making several sculptures difficult to weeks in Naples and its environs in the identify. Thus, this article will focus primarily company of the Danish painter Harald Foss on the new contributions to our knowledge (1843–1922) and a few Scandinavian friends. provided by the Krøyer letters. On his way back, Krøyer broke his journey The main emphasis falls on the period in the town of Sora, southeast of Rome, prior to Fosca’s emigration to South America on the outskirts of the Abruzzi Apennines. in 1889, at which point the correspondence Enchanted by the town and area, he decided between the two men grew less frequent in to return there to engage in plein-air studies scope. Based on the material available at and to paint a few larger-scale paintings.2 Later present, the article will venture to offer an that summer, he was joined by two Norwegian assessment of the quality of Fosca’s work and painters: Christian Meyer Ross (1843–1904) of the stylistic tendencies that can be observed and Eilif Peterssen (1852–1928), the latter in his pieces, seen in relation to Neapolitan accompanied by his wife, Nicoline. Krøyer art of the time which still retained its own stayed on until mid-October, producing two schooling and distinctive character within its large-scale paintings: Italian Field Labourers wider Italian context. (Brandts, Odense) and Italian Village Hatters Unlike Fosca’s body of work, Krøyer’s (The Hirschsprung Collection, Copenhagen) oeuvre is well elucidated, which is hardly – the Village Hatters scene would win him his surprising given his status as one of the most international breakthrough at the Paris Salon prominent Danish artists of the late nineteenth the following year. century. Indeed, his association with Fosca in While in Sora, Krøyer met the young Sora and his subsequent work at the sculptor’s sculptor Pasquale Fosca (1852–1928). Born in studio have already been referred to in the Sora, Fosca retained close ties to the city even available literature. However, the new review though he had lived in Naples ever since he of Fosca’s letters has given cause to examine was a child. Fosca also struck up a friendship whether they yield up new information that with the two Norwegian painters Meyer Ross may shed new light on the impact of Krøyer’s and Peterssen, with whom he stayed in touch two-month sojourn in Naples on his art. in the years that followed, for example while staying in Rome in early 1882. In the case Meeting in Sora. Krøyer’s debut as a sculptor of Ross, the friendship lasted right up until P.S. Krøyer arrived in Italy as part of a year- his death in 1904. Fosca’s circle of friends in long grand study tour commencing in France Sora also included the young lawyer Vincenzo in the summer of 1877. In Paris he studied Simoncelli (1860–1917), another native of 2 PSK to Heinrich Hirschsprung, Sora 3.5.1880, DHS, HH Arkiv no. 723. P.S. KRØYER, PASQUALE FOSCA AND THE NEAPOLITAN ART SCENE 151 Sora who worked in Naples. He would support Fosca on several occasions later in life.3 Krøyer did his very first sculpture in Sora, presumably with guidance from Fosca. There are signs suggesting that Meyer Ross also tried his hand at sculpting.4 While the results of the Norwegian artist’s efforts are unknown today, we do know that Krøyer sculpted A Peasant from the Abruzzo, of which he brought home a plaster version. (Fig. 1) The bust represents a young man with a distant look in his eyes, tight features in a delicately chiselled face, which wears a solemn expression.
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