Papers by antonella bellin
Arte Veneta, 2023
FRANCESCO HAYEZ AS A STUDENT “ELECTED ALUNNATO DI ROMA”
This study aims to reconstruct for the f... more FRANCESCO HAYEZ AS A STUDENT “ELECTED ALUNNATO DI ROMA”
This study aims to reconstruct for the first time, through previously unpublished documentation, both the procedures and the tests undergone by the participants in the first Alunnato di Roma competition held by the Accademia di Belle Arti di Venezia in 1809. It focuses primarily on Francesco Hayez’s experiences, without forgetting however the accounts of other competitors, including Giovanni De Min and Vincenzo Baldacci. Based on the testimonials that the examining committee requested from Hayez in order to participate in the competition, it was also possible to document the young painter’s artistic output prior to 1809, highlighting his participation in the Grande concorso painting competition in Brera in 1809, to which he submitted Zenobia ritrovata nel fiume Arasse [Zenobia found in the Araxes river], and providing important clarification regarding the events linked to the production of the Adorazione dei Magi [Adoration of the Magi] for the cathedral in Lošinj.
Venezia Arti, 2014
<div> <p>The article is about four Evangelists sculptures decorating the facade of Sa... more <div> <p>The article is about four Evangelists sculptures decorating the facade of San Lorenzo's church in Mestre (venice); works of the sculptor Agostino Rubini (1558/59-before 1592), they were offered by a benefactor at the beginning of 19th</p> </div>
8 | 2019 | CELEBRATING RUSKIN! Reconsidering the Venetian Masters of the Renaissance in the 19th Century, 2019
Between 1807 and 1856, the Royal Academy of Art in Venice played a particularly active role in th... more Between 1807 and 1856, the Royal Academy of Art in Venice played a particularly active role in the cultural life of the city. Prominent figures such as Pietro Edwards, Leopoldo Cicognara and Pietro Estense Selvatico, deeply committed to the transmission of the memory of the great Venetian masters, dedicated themselves to collect many venetian masterpieces not only to preserve them from alienation and destruction but even to increase the Accademia Gallery. The main aim of this article is to discover how and at what extent the paintings of the Venetian masters that had become part of the gallery in the first decades of the XIX century, had been copied by students, academics and contemporary painters to satisfy the ambitious expectations of famous collectors and publishers.
Saggi e memorie di storia dell'arte, 2020
ANTICIPATING RUSKIN. OBSERVATIONS ON THE RE-EVALUATION OF CARPACCIO’S
PRESENTATION OF JESUS AT TH... more ANTICIPATING RUSKIN. OBSERVATIONS ON THE RE-EVALUATION OF CARPACCIO’S
PRESENTATION OF JESUS AT THE TEMPLE IN THE FIRST DECADES OF THE 19TH CENTURY
It is well-known and widely investigated how the 19th century re-evaluation of Carpaccio as a prominent figure of the Venetian art scene between the 15th and the early 16th century, has its peak in the works of John Ruskin, written during the second half of the 19th century. Conversely, to date the circumstances that favoured and initiated the rediscovery of the famous painter around the 1830s, within the framework of the Academy of Fine Arts, have received little attention. The essay traces the earliest evidence of Carpaccio’s fortune in the 19th century, with a focus on the role played by his altarpiece, portraying the Presentation of Jesus at the Temple, in the process of re-evaluation of this great master.
MDCCC 1800, 2019
Between 1807 and 1856, the Royal Academy of Art in Venice played a particularly active role in th... more Between 1807 and 1856, the Royal Academy of Art in Venice played a particularly active role in the cultural life of the city. Prominent figures such as Pietro Edwards, Leopoldo Cicognara and Pietro Estense Selvatico, deeply committed to the transmission of the memory of the great Venetian masters, dedicated themselves to collect many venetian masterpieces not only to preserve them from alienation and destruction but even to increase the Accademia Gallery. The main aim of this article is to discover how and at what extent the paintings of the Venetian masters that had become part of the gallery in the first decades of the XIX century, had been copied by students, academics and contemporary painters to satisfy the ambitious expectations of famous collectors and publishers.
Omaggio a Michelangelo Grigoletti (1801-1870), catalogo della mostra (Pordenone, Museo civico d'arte), a cura di Vania Gransinigh, Antiga edizioni, 2020
MDCCC 1800, 2019
https://edizionicafoscari.unive.it/media/pdf/article/mdccc-1800/2019/1/art-10.14277-MDCCC-2280-88... more https://edizionicafoscari.unive.it/media/pdf/article/mdccc-1800/2019/1/art-10.14277-MDCCC-2280-8841-2019-01-001.pdf
Between 1807 and 1856, the Royal Academy of Art in Venice played a particularly active role in the cultural life of the city. Prominent figures such as Pietro Edwards, Leopoldo Cicognara and Pietro Estense Selvatico, deeply committed to the transmission of the memory of the great Venetian masters, dedicated themselves to collect many venetian masterpieces not only to preserve them from alienation and destruction but even to increase the Accademia Gallery. The main aim of this article is to discover how and at what extent the paintings of the Venetian masters that had become part of the gallery in the first decades of the XIX century, had been copied by students, academics and contemporary painters to satisfy the ambitious expectations of famous collectors and publishers.
This essay focuses on the relationship between the Austrian painter Carl Blaas and the Nazarenes ... more This essay focuses on the relationship between the Austrian painter Carl Blaas and the Nazarenes through
a study of Blaas' drawings, paintings and autobiography of 1876.
A. Bellin, E. Catra, La basilica dei Santi Giovanni e Paolo nel progetto di Leopoldo Cicognara. Da Pantheon delle glorie veneziane a museo della scultura, in Canova, Hayez, Cicognara. L'ultima gloria di Venezia, catalogo della mostra, a cura di F. Mazzocca, P. Marini, R. De Feo, Venezia 2017.
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Papers by antonella bellin
This study aims to reconstruct for the first time, through previously unpublished documentation, both the procedures and the tests undergone by the participants in the first Alunnato di Roma competition held by the Accademia di Belle Arti di Venezia in 1809. It focuses primarily on Francesco Hayez’s experiences, without forgetting however the accounts of other competitors, including Giovanni De Min and Vincenzo Baldacci. Based on the testimonials that the examining committee requested from Hayez in order to participate in the competition, it was also possible to document the young painter’s artistic output prior to 1809, highlighting his participation in the Grande concorso painting competition in Brera in 1809, to which he submitted Zenobia ritrovata nel fiume Arasse [Zenobia found in the Araxes river], and providing important clarification regarding the events linked to the production of the Adorazione dei Magi [Adoration of the Magi] for the cathedral in Lošinj.
PRESENTATION OF JESUS AT THE TEMPLE IN THE FIRST DECADES OF THE 19TH CENTURY
It is well-known and widely investigated how the 19th century re-evaluation of Carpaccio as a prominent figure of the Venetian art scene between the 15th and the early 16th century, has its peak in the works of John Ruskin, written during the second half of the 19th century. Conversely, to date the circumstances that favoured and initiated the rediscovery of the famous painter around the 1830s, within the framework of the Academy of Fine Arts, have received little attention. The essay traces the earliest evidence of Carpaccio’s fortune in the 19th century, with a focus on the role played by his altarpiece, portraying the Presentation of Jesus at the Temple, in the process of re-evaluation of this great master.
Between 1807 and 1856, the Royal Academy of Art in Venice played a particularly active role in the cultural life of the city. Prominent figures such as Pietro Edwards, Leopoldo Cicognara and Pietro Estense Selvatico, deeply committed to the transmission of the memory of the great Venetian masters, dedicated themselves to collect many venetian masterpieces not only to preserve them from alienation and destruction but even to increase the Accademia Gallery. The main aim of this article is to discover how and at what extent the paintings of the Venetian masters that had become part of the gallery in the first decades of the XIX century, had been copied by students, academics and contemporary painters to satisfy the ambitious expectations of famous collectors and publishers.
a study of Blaas' drawings, paintings and autobiography of 1876.
This study aims to reconstruct for the first time, through previously unpublished documentation, both the procedures and the tests undergone by the participants in the first Alunnato di Roma competition held by the Accademia di Belle Arti di Venezia in 1809. It focuses primarily on Francesco Hayez’s experiences, without forgetting however the accounts of other competitors, including Giovanni De Min and Vincenzo Baldacci. Based on the testimonials that the examining committee requested from Hayez in order to participate in the competition, it was also possible to document the young painter’s artistic output prior to 1809, highlighting his participation in the Grande concorso painting competition in Brera in 1809, to which he submitted Zenobia ritrovata nel fiume Arasse [Zenobia found in the Araxes river], and providing important clarification regarding the events linked to the production of the Adorazione dei Magi [Adoration of the Magi] for the cathedral in Lošinj.
PRESENTATION OF JESUS AT THE TEMPLE IN THE FIRST DECADES OF THE 19TH CENTURY
It is well-known and widely investigated how the 19th century re-evaluation of Carpaccio as a prominent figure of the Venetian art scene between the 15th and the early 16th century, has its peak in the works of John Ruskin, written during the second half of the 19th century. Conversely, to date the circumstances that favoured and initiated the rediscovery of the famous painter around the 1830s, within the framework of the Academy of Fine Arts, have received little attention. The essay traces the earliest evidence of Carpaccio’s fortune in the 19th century, with a focus on the role played by his altarpiece, portraying the Presentation of Jesus at the Temple, in the process of re-evaluation of this great master.
Between 1807 and 1856, the Royal Academy of Art in Venice played a particularly active role in the cultural life of the city. Prominent figures such as Pietro Edwards, Leopoldo Cicognara and Pietro Estense Selvatico, deeply committed to the transmission of the memory of the great Venetian masters, dedicated themselves to collect many venetian masterpieces not only to preserve them from alienation and destruction but even to increase the Accademia Gallery. The main aim of this article is to discover how and at what extent the paintings of the Venetian masters that had become part of the gallery in the first decades of the XIX century, had been copied by students, academics and contemporary painters to satisfy the ambitious expectations of famous collectors and publishers.
a study of Blaas' drawings, paintings and autobiography of 1876.
Pittore di origini trevigiane ma veneziano di adozione.
Dagli anni Novanta ad oggi numerosi furono gli artisti che per uscire da spazi troppo stretti o troppo scontati, decisero di proporre la loro arte “fuori dai giardini”, scegliendo come spazio espositivo lo specchio lagunare.
Mi riferisco a tutti quegli artisti che, desiderosi, di allontanarsi dai luoghi deputati della Biennale, plasmarono la superficie dell’acqua della laguna progettando delle installazioni in grado di assecondare il ritmo della marea, di resistere all’aggressione del vento e della pioggia ma, soprattutto, capaci di creare uno spettacolo di forte impatto emotivo. I primi che si cimentarono nella progettazione di un’istallazione che doveva letteralmente emergere dall’acqua furono Ben Jakober e Yannick Vu quando, nel 1993, in occasione della XLV Esposizione I Punti cardinali dell’arte organizzata da Bonito Oliva, posizionarono nello specchio d’acqua antistante all’ingresso dei giardini un’enorme testa di cavallo d’acciaio partendo dal celebre disegno di Leonardo. Tuttavia fu nel 1995, in occasione del centenario della Biennale, che venne allestita una grande galleria acquatica di arte contemporanea in grado di dimostrare la potenzialità dell’arte di interagire con l’ambiente circostante attraverso 14 installazioni sparse nello spazio lagunare compreso tra l’isola di S. Giorgio, S. Servolo e S. Lazzaro degli Armeni. Nel 2008 in occasione dell’XI Biennale Architettura viene presentata da Enel contemporanea l’opera Deep garden ed infine nel 2009 il SubTiziano di Ponomarev posto in Canal Grande davanti a Cà Foscari.
Grazie al recupero di numerosi fascicoli e incisioni fino ad oggi dispersi in archivi e collezioni private sia in Italia che all’estero siamo in grado di presentare per la prima volta l’opera nella sua completezza. L’intento è di mettere in luce l’impatto che la pubblicazione ebbe nell’ambiente artistico e culturale veneziano e soprattutto ricostruire per la prima volta le relazioni intercorse tra il tipografo Gaspari e i suoi successori, con gli esecutori dei disegni e delle stampe e con Cicognara, il vero ideatore e artefice del progetto.
Predella no. 41-42, 2017 - The "Discovery" of the Trecento in the Long Nineteenth Century
EDITORIALE/EDITORIAL
Gerardo DE SIMONE, Emanuele PELLEGRINI
Musei e identità: un intreccio difficile
MONOGRAFIA/MONOGRAPH
The «Discovery» of the Trecento in the Long Nineteenth Century
Louise BOURDUA
The «Discovery» of the Trecento in the Long Nineteenth Century. Introduction
COLLECTORS, CONNOISSEURS AND ART HISTORIANS
Sam SMILES
The Fate of the Manetti Chapel and the Reception of Trecento Art in Britain, 1770s to 1890s
Anita F. MOSKOVITZ
Discovering the Trecento: American Mavericks in the Market. Who, Where, Why, and Why Not
Corina MEYER
Working on «Depth of Thought» and «Serious Gravity»
Corentin DURY
Evariste Fouret (1807-1863): A French Collector, Amateur and Connoisseur of Trecento Painting
Julia M. NAUHAUS
Bernhard August Von Lindenau’s Collection of Early Italian Panel Paintings
Paul TUCKER
Trecento «Characteristic» and «Grotesque»: Frederic Burton, Charles Fairfax Murray and Early Sienese Painting in the National Gallery 1874-94
Martina BECATTINI
La Stanza del Trecento nel Museo Stibbert di Firenze
Laura FENELLI
Le Campora, 1908: Discovering a Trecento Fresco Cycle
ARTISTS
Hayley FLYNN
Dante’s Topographer: William Blake’s Illustrations to the Divine Comedy
Kathleen McLAUCHLAN
A Problematic Attraction: French Artists and the Primitive at the French Academy in Rome
Antonella BELLIN
Carl Blaas e i Nazareni a Roma
Alan CROOKHAM
Another Piece of the Mosaic. Trecento Influences on The Albert Memorial
Laura LOMBARDI
La riscoperta della tradizione medioevale nella scultura francese dopo il 1870. «Les véritables origines de la Renaissance»
Lyrica TAYLOR
«My Beloved Masaccio and Giotto and All The Rest of the Blessed Company»: Winifred Margaret Knights and the Rediscovery of the Trecento in the Long Nineteenth Century
OTHER CONTEXTS: CULTURE & THE MARKET
Elisa CAMPOREALE
In Homes and Novels: Early Italian Pictures in England from Early Nineteenth to Early Twentieth Century
Assunta DE CRESCENZO
Foscolo’s Parallel Between Dante and Petrarch: A Perfect Harmony of Contrasts
Roberto RISSO
«Sotto il sembiante d’una pacata mestizia…». La cacciata del Duca d’Atene dal Medioevo all’Ottocento fra cronaca, affresco, narrazione e pittura
Chiara MORICONI
Dante Gabriel Rossetti's Salutatio Beatricis: Tradition as Translation
Marie TAVINOR
John Ruskin: A New Saint Francis of Assisi? Ruskin’s Critical Reception in Italy and The Origins of the ‘Renaissance’
Lynn CATTERSON
American Collecting, Stefano Bardini & the Taste for Trequattrocento Florence
Robert GIBBS
A 21st-Century Invention of a 19th-Century Giotto Revival: The ‘Stendhal Syndrome’
MISCELLANEA/MISCELLANY
FIGURE
Alba BARCELÓ
Iluminando la décima plaga de Egipto: la muerte de los primogénitos en el programa pictórico de las Haggadot medievales catalanas, particularidades e influencias
Rudolf SCHIER
Sailing to Byzantium. Giorgione’s Three Philosophers
Claudia LA MALFA
I campanili di Raffaello
Cristina GAGLIONE
Il gioco di carte alla corte degli Este: analisi di un dipinto di Dosso sulla base della rilettura degli inventari estensi
CUSPIDE
Ilaria TADDEO
Some Observations on “Michele Grechi Lucchese” Painter and Engraver
Gianpasquale GRECO
Un angolo di Toscana a Roma: la Cappella di Carlo Lambardi «Nobilis Aretinus» in Santa Maria in Via
Chiara MINARDI
Nicolas Guillaume De La Fleur (1595/1600-1663): un pittore lorenese tra Roma e la Francia in età barocca
Laurent GRISON
Ingres et le mythe d'Œdipe
CORNICE
Giulia INGARAO
The Alcove: an interior with three figures.
Leonora Carrington, Max Ernst E Leonor Fini – Saint Martin D’ardèche 1938/1940
Francesca PIROZZI
Il senso di Luigi Ontani per la maestria della ceramica e delle arti popolari
IN LIBRERIA
Paul TUCKER
Titling and the Individuation of Artworks
Review of: Ruth Bernard Yeazell, Picture Titles. How and Why Western Paintings Acquired their Names, Princeton University Press, 2015
Eliana CARRARA
Scrivere d’arte nel Cinquecento
Recensione di Émilie Passignat (a cura di), Il Cinquecento. Le fonti per la storia dell’arte, Roma, Carocci, 2017
Silvia MASSA
Orlando Grosso e l’arte genovese tra musei civici e connoisseurship
Recensione di Andrea Leonardi, Arte antica in mostra. Rinascimento e Barocco genovesi negli anni di Orlando Grosso (1908-1948), Firenze, Edifir, 2016
Gigetta DALLI REGOLI
Les Cahiers de l’Ornement/2
Recensione di Les Cahiers de l’Ornement 2, a cura di P.Caye e F.Solinas, Roma, De Luca, 2016
Marco BRUNETTI
Artestorie. Le professioni della storia dell’arte
Recensione di M. S. Bottai, S. Cecchini, N. Mandarano (a cura di), Artestorie. Le professioni della storia dell’arte, Cisalpino Istituto Editoriale Universitario 2016