Papers by Maichol Clemente
The Burlington Magazine (November 2024), 2024
At the centre of the article is the discovery of an unpublished sculpture by the young Gian Loren... more At the centre of the article is the discovery of an unpublished sculpture by the young Gian Lorenzo Bernini (1598-1680) depicting 'Andromeda offered to the sea monster'. The article starts from a letter not considered by art historians, preserved in Paris, with which in 1682 Elpidio Benedetti offered Jean Baptiste Colbert a gift: ‘a small sculpture representing Andromeda exposed to the sea-monster, a work of the late Cavalier Bernini, executed at the time of his famous Daphne, that is to say in his best and strongest manner’. Due to the poor health of Louis XIV's minister, who died in 1683, the gift was not successful. The work remained in the hands of Abbot Benedetti, who left it to the Prince of Soubise in his will. In addition to retracing the collection's transitions up to 1787, in the second part, the article shows how this stunning sculpture, which appeared in Paris in 1986, is to be linked to the one in Elpidio's hands and that it is indeed to be recognised as the work of the young Gian Lorenzo Bernini, executed between 1616 and 1617, when the artist had not yet officially emancipated himself from his father Pietro.
In short: an important point in the understanding of the early work of the famous European Baroque sculptor.
Filippo Parodi / Le Metamorfosi, 2024
LA“SPLENDIDA” VENEZIA DI FRANCESCO MOROSINI (1619-1694): cerimoniali, arti, cultura, 2022
La Basilica di Sant'Antonio in Padova, 2021
Arte Veneta 75, 2018
This article draws on the discovery of two terracottas by Giusto Le Court that, until 2009, were ... more This article draws on the discovery of two terracottas by Giusto Le Court that, until 2009, were in the Yves Saint Laurent and Pierre Berge collection in Paris. One of them can be recognized as the preparatory model for Diana’s bust commissioned by Livio Odescalchi in 1679, and now held in the Palacio Real de La Granja in Segovia.
In addition to introducing these two new works in the catalogue of the sculptor, the author explores their relationship with the works of Artus Quellinus the Elder - one of the masters of Le Court - and with other depictions of Diana provided by the Flemish sculptor during his Venetian activity.
Furthermore, he analyzes the internal dynamics of the still scarcely known workshop of Giusto Le Court, identifying some of his models. The discovery of previously unknown documents regarding the legacy of Giusto Le Court, provides the opportunity to reconstruct some of his family ties and friendships, while at the same time clarifying the number of models that were kept in his house at his death.
by Nina Kudis, Marin Bolić, Mario Pintarić, Massimo Favilla - Ruggero Rugolo, Simone Guerriero, Maichol Clemente, Renata Novak Klemencic, Matej Klemenčič, Mateja Jerman, Iva Jazbec Tomaić, Katra Meke, Ana Šitina Žepina, Dženis Torić, and Petar Puhmajer
AFAT - Arte in Friuli Arte a Trieste 30, 2012
Giusto Le Court (1627-1679) was one of the most important sculptors who worked in Venice during t... more Giusto Le Court (1627-1679) was one of the most important sculptors who worked in Venice during the second half of the Seventeenth century. Among his work there are the
Winter and the Autumn preserved in Ca’ Rezzonico: two small sculptures which the Rezzonico family settled on the staircase, when the palace in St. Barnaba was purchased. The two venetian sculptures were proba-bly parts of a cycle dedicated to the Four Seasons. The article presents for the first time the two other allegories, which they have been supposed lost until now: the Spring and the Summer, today pre-served in Ely and Nina Biélutin’s collection in Moscow and here attributed to the great Flemishsculptor Giusto Le Court.
Important European Terracottas: TOMASSO BROTHERS FINE ART (New York, 25 January – 2 February 2018), 2018
Veronese in Murano: Two Venetian Renaissance Masterpieces Restored , 2017
Veronese in Murano: Two Venetian Renaissance Masterpieces Restored
Authors: Xavier F. Salomon ... more Veronese in Murano: Two Venetian Renaissance Masterpieces Restored
Authors: Xavier F. Salomon with Maichol Clemente and Claudia Vittori Publisher: The Frick Collection Softcover, 6 1/2 x 9 1/2 in., 96 pages, 53 color illustrations, foldout In 1566, the Venetian priest Francesco degli Arbori commissioned two paintings by the celebrated artist Paolo Veronese. The canvases—St. Jerome in the Wilderness and St. Agatha Visited in Prison by St. Peter—were destined to decorate a small chapel the priest had built just outside the church and convent of Santa Maria degli Angeli on the island of Murano, in the Venice Lagoon. To protect the paintings from the humidity of the chapel and the risk of theft, the nuns moved them inside the main church, and by the early nineteenth century, they had been relocated to San Pietro Martire, another church on Murano. This publication accompanies the exhibition at The Frick Collection of the two Veronese masterpieces—their first presentation outside of Italy—following their full restoration by Venetian Heritage
Zbornik za umetnostno zgodovino (Nova vrsta), 2013
Rijksmuseum Bulletin , 2016
in S. Guerriero e M. Clemente, Giusto Le Court: due opere ritrovate, 2015
quale è restato erede del morto, voglia vendere alcuni bellissimi modelli di creta fatti dal mede... more quale è restato erede del morto, voglia vendere alcuni bellissimi modelli di creta fatti dal medesimo Giusto; quando si dasse il caso Vostra Eccellenza mi dica se haverà genio d'applicarvi" 1 . Con queste parole, contenute in una lettera del 17 febbraio 1680, il veneziano Quintiliano Rezzonico informava il nobile romano Livio Odescalchi, di cui era diventato il principale referente per gli acquisti d'arte nella Serenissima, della possibilità di entrare in possesso, qualora ne fosse stato desideroso, di alcune opere in terracotta del celebre fiammingo Giusto Le Court (Ypres 1627 -Venezia 1679) 2 : il campione della scultura barocca veneziana, "e 'l Bernini Adriatico" 3 , scomparso improvvisamente il 4 ottobre 1679 mentre stava lavorando, tra l'altro, ad alcuni marmi destinati ad arricchire proprio la collezione di Livio Odescalchi, nipote del papa reggente Innocenzo XI.
Saggi e memorie di storia dell'arte 38, 2014
Talks by Maichol Clemente
Paper presented during the conferece:
"PUBLIC AND PRIVATE COMMISSIONS.
Donors and Works of A... more Paper presented during the conferece:
"PUBLIC AND PRIVATE COMMISSIONS.
Donors and Works of Art in the Northern Adriatic during the Early Modern Period"
Colloquium – "Venetian Baroque Sculpture – Current State of Research and New Perspectives".
IC... more Colloquium – "Venetian Baroque Sculpture – Current State of Research and New Perspectives".
ICCHS
International Center for Comparative Historical Studies
University of Ljubljana, Faculty of Arts, Art History Department – Friday, 5 May 2017
Organised at Art History Department of Faculty of Arts, University of Ljubljana, in
collaboration with Slovenian Association of Art Historians.
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Papers by Maichol Clemente
In short: an important point in the understanding of the early work of the famous European Baroque sculptor.
In addition to introducing these two new works in the catalogue of the sculptor, the author explores their relationship with the works of Artus Quellinus the Elder - one of the masters of Le Court - and with other depictions of Diana provided by the Flemish sculptor during his Venetian activity.
Furthermore, he analyzes the internal dynamics of the still scarcely known workshop of Giusto Le Court, identifying some of his models. The discovery of previously unknown documents regarding the legacy of Giusto Le Court, provides the opportunity to reconstruct some of his family ties and friendships, while at the same time clarifying the number of models that were kept in his house at his death.
Winter and the Autumn preserved in Ca’ Rezzonico: two small sculptures which the Rezzonico family settled on the staircase, when the palace in St. Barnaba was purchased. The two venetian sculptures were proba-bly parts of a cycle dedicated to the Four Seasons. The article presents for the first time the two other allegories, which they have been supposed lost until now: the Spring and the Summer, today pre-served in Ely and Nina Biélutin’s collection in Moscow and here attributed to the great Flemishsculptor Giusto Le Court.
Authors: Xavier F. Salomon with Maichol Clemente and Claudia Vittori Publisher: The Frick Collection Softcover, 6 1/2 x 9 1/2 in., 96 pages, 53 color illustrations, foldout In 1566, the Venetian priest Francesco degli Arbori commissioned two paintings by the celebrated artist Paolo Veronese. The canvases—St. Jerome in the Wilderness and St. Agatha Visited in Prison by St. Peter—were destined to decorate a small chapel the priest had built just outside the church and convent of Santa Maria degli Angeli on the island of Murano, in the Venice Lagoon. To protect the paintings from the humidity of the chapel and the risk of theft, the nuns moved them inside the main church, and by the early nineteenth century, they had been relocated to San Pietro Martire, another church on Murano. This publication accompanies the exhibition at The Frick Collection of the two Veronese masterpieces—their first presentation outside of Italy—following their full restoration by Venetian Heritage
Talks by Maichol Clemente
"PUBLIC AND PRIVATE COMMISSIONS.
Donors and Works of Art in the Northern Adriatic during the Early Modern Period"
ICCHS
International Center for Comparative Historical Studies
University of Ljubljana, Faculty of Arts, Art History Department – Friday, 5 May 2017
Organised at Art History Department of Faculty of Arts, University of Ljubljana, in
collaboration with Slovenian Association of Art Historians.
In short: an important point in the understanding of the early work of the famous European Baroque sculptor.
In addition to introducing these two new works in the catalogue of the sculptor, the author explores their relationship with the works of Artus Quellinus the Elder - one of the masters of Le Court - and with other depictions of Diana provided by the Flemish sculptor during his Venetian activity.
Furthermore, he analyzes the internal dynamics of the still scarcely known workshop of Giusto Le Court, identifying some of his models. The discovery of previously unknown documents regarding the legacy of Giusto Le Court, provides the opportunity to reconstruct some of his family ties and friendships, while at the same time clarifying the number of models that were kept in his house at his death.
Winter and the Autumn preserved in Ca’ Rezzonico: two small sculptures which the Rezzonico family settled on the staircase, when the palace in St. Barnaba was purchased. The two venetian sculptures were proba-bly parts of a cycle dedicated to the Four Seasons. The article presents for the first time the two other allegories, which they have been supposed lost until now: the Spring and the Summer, today pre-served in Ely and Nina Biélutin’s collection in Moscow and here attributed to the great Flemishsculptor Giusto Le Court.
Authors: Xavier F. Salomon with Maichol Clemente and Claudia Vittori Publisher: The Frick Collection Softcover, 6 1/2 x 9 1/2 in., 96 pages, 53 color illustrations, foldout In 1566, the Venetian priest Francesco degli Arbori commissioned two paintings by the celebrated artist Paolo Veronese. The canvases—St. Jerome in the Wilderness and St. Agatha Visited in Prison by St. Peter—were destined to decorate a small chapel the priest had built just outside the church and convent of Santa Maria degli Angeli on the island of Murano, in the Venice Lagoon. To protect the paintings from the humidity of the chapel and the risk of theft, the nuns moved them inside the main church, and by the early nineteenth century, they had been relocated to San Pietro Martire, another church on Murano. This publication accompanies the exhibition at The Frick Collection of the two Veronese masterpieces—their first presentation outside of Italy—following their full restoration by Venetian Heritage
"PUBLIC AND PRIVATE COMMISSIONS.
Donors and Works of Art in the Northern Adriatic during the Early Modern Period"
ICCHS
International Center for Comparative Historical Studies
University of Ljubljana, Faculty of Arts, Art History Department – Friday, 5 May 2017
Organised at Art History Department of Faculty of Arts, University of Ljubljana, in
collaboration with Slovenian Association of Art Historians.
In this regard, the study was based on the detailed research conducted by Simone Guerriero and published in a volume in 2022, dedicated to another sculpture by Barthel, a Venus, which was already in the imperial Viennese collections.
A future essay by Simone Guerriero and myself, in which other works by Barthel and Le Court already present in the same collection will be accounted for, is currently being published.
5 - Giuseppe Torretti (1664–1743)
I Santi Giacomo, Andrea, Bartolomeo e Tommaso
1708-1711 ca., marmo di Carrara
(pp. 47-49)
17 - Filippo Parodi (1630–1702)
San Pietro, San Paolo
ca. 1687, marmo
(pp. 106-109)
19 - Nicolò Roccatagliata (ca. 1559–1629)
Santo Stefano, San Giorgio
Bronzo, cm 61×31×48 ca.
(pp. 114-115)
21 - Giovanni Battista alBanese (1573–1630)
Salomone, Giona
(pp. 122-125)
22 - Le statue dei Profeti
(pp. 126-129)
The two statues once belonged to the most significant art collection of the 17th century, that of Archduke Leopold Wilhelm of Austria (1614–1662). Between 1647 and 1656, the archduke served as the governor of the Spanish Netherlands under Emperor Ferdinand III, and created an extraordinarily rich collection, which now forms the core of the Kunsthistorisches Museum in Vienna. Leopold Wilhelm’s interest in Venetian sculpture arose after his return to Vienna. With the assistance of the Habsburg imperial ambassador based in Venice, he acquired works by the German-born Venetian sculptor Melchior Barthel (1625–1672), and by Giusto Le Court. Unfortunately, the Le Court sculptures in the Vienna collection were dispersed over the centuries, with two of them eventually ending up in Budapest. The Minerva and Saturn marbles were donated to the Hungarian National Museum’s Antiquities Collection in 1817 by Archduke Joseph of Austria (1776–1847),
Palatine of Hungary.
Unfortunately, the statues have deteriorated over the centuries. Thanks to the rediscovery of the artworks’ true origin and the generous support of Venetian Heritage, the professional restoration of the sculptures can take place in the upcoming months.
The project is the first collaboration between the Museum of Fine Arts and Venetian Heritage, a non-profit organization supporting Venetian art.
Venezia, Fondazione Cini, sull'Isola di San Giorgio Maggiore, 19 e 20 novembre 2019.
Nell’ambito delle celebrazioni per i quattrocento anni della nascita di Francesco Morosini (Venezia 1619 – Nauplia 1694), l’Istituto di Storia dell’Arte organizza un convegno internazionale di studi incentrato sulla sua figura e sul coté culturale della Venezia secentesca. Ammiraglio, diplomatico e poi doge, Francesco Morosini, detto il Peloponnesiaco, fu l’ultimo degli illustri patrizi che resero grande la Serenissima Repubblica, essendo capace di restituirle una parte dell’antico peso politico-militare sullo scacchiere internazionale e di far risorgere nei veneziani il sogno di possedere un impero marittimo in Levante. Morosini – la cui figura assunse una centralità alla quale nessun altro condottiero poté aspirare in tutta la secolare storia dello stato marciano – seppe orchestrare una strategia autocelebrativa del tutto inedita per l’efficacia degli strumenti di comunicazione in una Venezia che mantenne di fatto inalterata la sua primazia in campo culturale e artistico. Tra i temi presi in esame e illustrati nei due giorni del convegno da ventuno relatori, selezionati tra i maggiori studiosi della storia culturale e artistica secentesca, vi è quello centrale dell’immagine pubblica di Morosini e delle sue gesta nella produzione artistica di scultori, pittori, architetti, illustratori di primo piano. Strettamente collegato il tema dell’eccezionale proliferazione e popolarità di spettacoli, regate e feste civiche, mentre altri interventi si focalizzeranno sulla produzione letteraria ispirata al personaggio in anni coincidenti con una fase di importante trasformazione dell’arte veneziana in senso barocco; fenomeno che alcune relazioni analizzeranno in chiese, monumenti, figurazioni legate in vario modo al mito morosiniano.