FrancescoDossier.pdf

Portrait of Napoleone II Orsini, Lord of Bracciano, preserved in the Department of Drawings at the J. Paul Getty Museum in Los Angeles (93.ga.64), 1 belongs to an intriguing nucleus of sixteen drawings that were once part of the Museum Chartaceum, or Paper Museum, a remarkable collection of more than seven thousand works on paper (prints, drawings, and watercolors) assembled by the famous Roman patron and collector Cassiano da Pozzo and his brother Carlo Antonio during the seventeenth century ( ). 2 Some of these drawings have entered museum collections, 3 while others are still in private hands. 4 Their round shape has suggested to scholars that they might be models for (or copies from) maiolica dishes or plaquettes. 5 As for their authorship, Nicholas Turner's attribution to Bernardino Capitelli, a Sienese painter and printmaker who worked for Cassiano, has been generally accepted. This attribution was made on the grounds of stylistic similarities with other drawings from the Paper Museum ascribed to Capitelli by Turner himself. 6 A comparison between Portrait of Napoleone II Orsini and the decorative apparatus of an unpublished Orsini manuscript, however, demonstrates that this drawing (and the others of the same group) were in fact models for engravings, realized by a different author.

Rendiconti dell’Accademia Nazionale dei Lincei, 2021

In the context of the new publication of the first four volumes of Paolo Orsi’s taccuini (working note-books), this paper offers an assessment of Orsi’s epigraphic activity in Sicily. The first part of the paper briefly examines attitudes to Orsi ‘the epigrapher’ in modern scholarship, before considering Orsi’s actual epigraphic formation (at Vienna and subsequently) and his initial epigraphic activity, both as scholar and teacher. The second part reviews the new publication of the taccuini. The final part explores the evidence for Orsi’s epigraphic activity as documented in the first four taccuini, in particular his remarkable initial efforts to record the entire collection of the Siracusa museum on his arrival in 1888. Examples of Orsi’s epigraphic acumen, as recorded in the taccuini and associated publications, are illustrated by comparison with other scholars’ study of the same material; in the process, previously unpublished material is presented and the ongoing value of the taccuini is demonstrated. Nell'ambito della nuova pubblicazione dei primi quattro volumi dei taccuini di Paolo Orsi, questo lavoro offre una riflessione sull'attività epigrafica dello studioso roveretano in Sicilia. La prima parte dell'articolo esamina brevemente le posizioni assunte dalla ricerca contemporanea sulla figura di Orsi epigrafista, soffermandosi poi sulla sua formazione epigrafica (a partire dagli anni viennesi) e sulla sua iniziale attività come epigrafista, tanto nella ricerca quanto nell'insegnamento. La seconda parte recensisce la nuova pubblicazione dei taccuini. La parte finale prende in esame le testimonianze dell'attività epigrafica di Orsi così come risulta documentata dai primi quattro taccuini, mostrando in particolare i notevoli sforzi iniziali compiuti dallo studioso per censire l'intera collezione del museo di Siracusa al suo arrivo nel 1888. Esempi dell'acume epigrafico di Orsi, del quale i taccuini e le pubblicazioni a essi collegate sono testimonianza, sono illustrati attraverso il confronto tra la sua opera e ricerche di altri studiosi sui medesimi materiali. Nel corso di tutto il contributo viene inoltre presentato materiale inedito presente nei taccuini e dimostrata la grande rilevanza che ancora questi documenti rivestono per le ricerche future.

Bastian Eclercy and Hans Aurenhammer (eds.), Munich / London / New York: PrestelTitian and the Renaissance in Venice, exh. cat. Frankfurt, Städel Museum, , 2019

Pen and brown ink wash white heightening on blue paper cm Berlin Staatliche Museen Kupferstichkabinett inv no KdZ BIBLIOGRPHY exh cat Saarbrücken pp f cat no Florian Härb exh cat Berlin p cat no Dagmar Korbacher Härb p cat no Study for Allegory of the Fourth Hour of the Day / Pen and brown ink over traces of black crayon brown wash with opaque white heightening on grey blue paper cm Düsseldorf Museum Kunstpalast inv no KA FP BIBLIOGRAPHY Härb pp f cat no Brink I pp f cat no A

Burlington Magazine, 2008

Fund og Forskning i Det Kongelige Biblioteks Samlinger, 2017

Some observations on the history of collecting illuminated cuttings serve to introduce three unpublished Italian fragments that are part of a collection of illuminated frag- ments conserved in the Royal Danish Library. The miniatures are described from the point of view of their liturgical and art-historical content and are presented in the form of entries in a catalogue raisonné. The Master B. F., who grew up under the shadow of Leonardo de Vinci, was among those miniaturists most sought-after by collectors in the late nineteenth and early twen- tieth century because of his evident stylistic debts to the great painter. The beautiful miniature in Copenhagen can now be added to the other known works of this Master and is critical not only to the reconstruction of his corpus, but also for the history of collecting, as it comes from the prestigious Holford Collection. It was already correctly attributed when it entered the collection of the Royal Library; it is here inserted into the activity of the artist, a dating is proposed, and a provenance is suggested from the series of choir books in the monastery of Santi Angelo e Nicolò a Villanova Sillaro in Lombardy, which were broken up around 1799. The Danish cutting here attributed to Attavante has a specific iconography that dem- onstrates an originality and an independence from models followed by contemporary Florentine painting, qualities not always acknowledged to the well known miniaturist whose extensive figurative production has sometimes been considered repetitive. A third fragment is here attributed to the Pisan Master of Montepulciano Gradual I. This anonymous miniaturist is at the centre of the most recent and innovative studies of fourteenth-century Tuscan painting: his activity belongs to the diversified texture of artistic production between Florence and its nearby cities, with expressive modalities independent of the tradition of the more strictly Giottesque masters. The miniature attributed to him here is to be added to the catalogue of his works, dispersed as they are in many European and American collections.

In Crossing Parallels, Agostino Carracci and Hendrick Goltzius, exhibition catalogue, Susanne Pollack and Samuel Vitali, eds., Michael Imhof Verlag, Petersberg, 2021

Segantini. Petalo di rosa. Indagini e scoperte, catalogo della mostra, a cura di A.–P. Quinsac, Gallerie Maspes, Milano, 2015

Gli esordi espositivi di Giovanni Segantini, gli acquisti sociali da parte della Società per le Belle Arti di Milano, la vicenda di Tisi galoppante e la sua mancata partecipazione all'Esposizione Nazionale di Belle Arti organizzata a Milano nel 1881, la personale dell'artista tenutasi alla Permanente nell'estate del 1885.