Roma 1786 : la carica di Assessore alla Scultura e i suoi candidati

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Abstract

The Edict Valenti-Gonzaga, issued in 1750, aimed to improve the protection of the artworks in Rome by establishing three Assessors with the duty to supervise respectively sculptures, paintings, and antiquities across the city. Focusing on 1786, when the position of assessor for sculptures remained vacant, this essay offers an accurate reading of the role of this officer in the cultural context of the time. Based on extensive archival documentation relating to the candidacies for this position in 1786, the article highlights the power relationships between the sculptors and the dynamics of the Roman art market. Giuseppe Antonio Guattani’s final choice is also an opportunity to reflect on the relationship between artists and scholars in eighteenth-century Rome.

Salvato in:
Autori: Chiara Piva iD (Sapienza University of Rome)
Pubblicato in: Arte, legge, restauro L’Europa e le prime prassi per la protezione del patrimonio
Data di pubblicazione:20/06/2022
Tipo di documento:Capitolo di libro
Lingua:inglese
DOI: 10.30687/978-88-6969-623-7/001
Accesso aperto: Accesso aperto Gold: rivista ad accesso aperto – Testo completo ad accesso aperto (licenza: CC-BY, versione editoriale)
Soggetti:
Historical Art and Architecture Studies (Social Sciences > Arts and Humanities > Conservation)
Historical Art and Culture Studies (Social Sciences > Arts and Humanities > Museology)
Historical and Religious Studies of Rome (Social Sciences > Arts and Humanities > History)
sculptors, art market, 18th-century Rome, art protection
Identificativi: OpenAlex W4283160206

Dati dell'indice centrale: OpenAlex (licenza CC0).

Riassunto:The Edict Valenti-Gonzaga, issued in 1750, aimed to improve the protection of the artworks in Rome by establishing three Assessors with the duty to supervise respectively sculptures, paintings, and antiquities across the city. Focusing on 1786, when the position of assessor for sculptures remained vacant, this essay offers an accurate reading of the role of this officer in the cultural context of the time. Based on extensive archival documentation relating to the candidacies for this position in 1786, the article highlights the power relationships between the sculptors and the dynamics of the Roman art market. Giuseppe Antonio Guattani’s final choice is also an opportunity to reflect on the relationship between artists and scholars in eighteenth-century Rome.
DOI:10.30687/978-88-6969-623-7/001