Papers by Fabio Franz
Experiment, 2017
This paper focuses on the provenance, conservation history, and critical fortuna of some selected... more This paper focuses on the provenance, conservation history, and critical fortuna of some selected Western European paintings that were placed in Saint Petersburg between 1850 and 1917. In my research, I link archival information with scientific bibliography and material data for three purposes: Firstly, I compare the two stays in Russia, in 1861 and 1862, by the German expert Gustav Friedrich Waagen with the 1865 visit to St. Petersburg of the Italian connoisseur Giovanni Battista Cavalcaselle. Secondly, I investigate Cavalcaselle’s alleged meeting with the Russian expert Fedor Antonovich Bruni regarding the technique, fruition, and state of conservation of the paintings Saint Sebastian Barbarigo by Titian, Apollo and Marsyas Litta by Bronzino, and Virgin and Child with the Infant Saint John, now attributed to Pontormo. Thirdly, I explore to what extend Duke of Leuchtenberg’s art gallery, Nikolai Dmitrievich Bykov’s collection, and some other private collections, among them those of...
MDCCC 1800
Art-historical partners J. A. Crowe (1851) and G. B. Cavalcaselle (1865) made individual surveys ... more Art-historical partners J. A. Crowe (1851) and G. B. Cavalcaselle (1865) made individual surveys in Denmark. This paper speculates on their interactions with Danish expert N. L. Høyen. It focuses on Cavalcaselle’s Danish sketches (Marciana, Venice). It also offers new perspectives on G. F. Waagen’s stay in Copenhagen (1868). It expounds on the fortuna and conservation history of the Man of Sorrow by Mantegna, the alleged Portrait of Antonio Galli and other – mostly Valenti Gonzaga – paintings now in the Statens Museum for Kunst. It investigates the 19th-century criticism of draperies by Mantegna and Leonardo. It hypothesyses the identification of a Portrait of Thomas Gresham.
http://edizionicafoscari.unive.it/it/edizioni/riviste/mdccc-1800/2018/1/disvelando-pale-effigi-e-... more http://edizionicafoscari.unive.it/it/edizioni/riviste/mdccc-1800/2018/1/disvelando-pale-effigi-e-panneggi/
Art-historical partners Joseph Archer Crowe (1851) and Giovanni Battista Cavalcaselle (1865) made individual surveys in Denmark.
This paper speculates on their interactions with Danish expert Niels Lautitz Andreas Høyen (1798-1870). It focuses on Cavalcaselle’s Danish sketches (Marciana, Venice). Moreover, it offers new perspectives on Gustav Friedrich Waagen’s stay in Copenhagen (1868).
Furthermore, it expounds on the fortuna and conservation history of the "Man of Sorrow" by Andrea Mantegna, the "Portrait of Lorenzo Cybo" by Parmigianino, an altarpiece by Filippino Lippi, the alleged "Portrait of Antonio Galli" assigned to Titian or Federico Barocci and two male portraits assigend to Hans Memling and Andrea Del Sarto. Furthermore, it discusses the attribution of some other – mostly Valenti Gonzaga – paintings now in the Statens Museum for Kunst, as a copy from Raphael once assigned to the Sassoferrato or an altarpiece attributed to Marco Vecellio's circle.
In addition, this paper investigates the 19th-century criticism of draperies by Mantegna and Leonardo not only in relation to Giovanni Bellini's or Hubert and Jan van Eyck's oeuvre.
Finally, it hypothesyses the identification of a "Portrait of Thomas Gresham" assigned to the so-called 'Master of the 1540s'.
This paper focuses on the provenance, conservation history, and critical fortuna of some selected... more This paper focuses on the provenance, conservation history, and critical fortuna of some selected Western European paintings that were placed in Saint Petersburg between 1850 and 1917. In my research, I link archival information with scientific bibliography and material data for three purposes: Firstly, I compare the two stays in Russia, in 1861 and 1862, by the German expert Gustav Friedrich Waagen with the 1865 visit to St. Petersburg of the Italian connoisseur Giovanni Battista Cavalcaselle. Secondly, I investigate Cavalcaselle’s alleged meeting with the Russian expert Fedor Antonovich Bruni regarding the technique, fruition, and state of conservation of the paintings Saint Sebastian Barbarigo by Titian, Apollo and Marsyas Litta by Bronzino, and Virgin and Child with the Infant Saint John, now attributed to Pontormo. Thirdly, I explore to what extend Duke of Leuchtenberg’s art gallery, Nikolai Dmitrievich Bykov’s collection, and some other private collections, among them those of Princess Kotchubey, Counts Buturlin and Stroganov, and Armenian general Lazarev, were accessible to Western scholars. The research results will enable art historians, curators, and restorers to fill in some blanks in the provenance research and conservation history of these Western masterpieces that used to enrich the Saint Petersburg art scene before the October Revolution.
Cavalcaselle's 1865 activity in Sweden
Provenance research on some paintings by Rubens, Jan van ... more Cavalcaselle's 1865 activity in Sweden
Provenance research on some paintings by Rubens, Jan van Hemessen, Guidoccio Cozzarelli and Callisto Piazza now placed in the Nationalmuseum (Stockholm)
Conference Presentations by Fabio Franz
Schiavone was one of the most relevant Venetian Late-Renaissance artists. Giovanni Battista Caval... more Schiavone was one of the most relevant Venetian Late-Renaissance artists. Giovanni Battista Cavalcaselle (1819-1897), on the other hand, was one of the main 19th-century European experts of Old Masters. Though, scholarship has never paid enough attention to Cavalcaselle's critical approach to Schiavone's work. Some archival sources, on the contrary, suggest that, even if he never published any article or book chapter on Schiavone, Cavalcaselle could have developed a broad and nuanced connoisseurship of Schiavone's oeuvre.
During his stay in Saint Petersburg (1865), for instance, Cavalcaselle drew some noteworthy sketches and took some important notes about the technique, the conservation, the attribution and the provenance of some specific paintings placed in Russia that were then assigned - by him or other contemporary experts - to Schiavone. These materials, now kept in the Marciana National Library (Venice), enhance the comprehension of the ways in which Cavalcaselle, as well as his editorial partner, the British connoisseur Joseph Archer Crowe (1825-1896), studied and evaluated Schiavone's drawing, painting and etching skills.
This paper aims to shed more light on the availability to 19th-century scholars of the Barbarigo 'Saint Sebastian' by Titian (State Hermitage Museum, Saint Petersburg). Moreover, this essay’s purpose is to provide some unknown elements on the collecting and critical fortuna of some 'cassoni dipinti' and other specific paintings on panel or canvas that were once assigned to Meldola in Russia and in Western Europe.
This work will help scholars to improve the understading of how Cavalcaselle's and Crowe's method challenged some other major 19th-century European experts of Old Masters, as Gustav Friedrich Waagen (1794-1868) or Giovanni Morelli (1816-1891), in relation to Schiavone’s style and technique.
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Papers by Fabio Franz
Art-historical partners Joseph Archer Crowe (1851) and Giovanni Battista Cavalcaselle (1865) made individual surveys in Denmark.
This paper speculates on their interactions with Danish expert Niels Lautitz Andreas Høyen (1798-1870). It focuses on Cavalcaselle’s Danish sketches (Marciana, Venice). Moreover, it offers new perspectives on Gustav Friedrich Waagen’s stay in Copenhagen (1868).
Furthermore, it expounds on the fortuna and conservation history of the "Man of Sorrow" by Andrea Mantegna, the "Portrait of Lorenzo Cybo" by Parmigianino, an altarpiece by Filippino Lippi, the alleged "Portrait of Antonio Galli" assigned to Titian or Federico Barocci and two male portraits assigend to Hans Memling and Andrea Del Sarto. Furthermore, it discusses the attribution of some other – mostly Valenti Gonzaga – paintings now in the Statens Museum for Kunst, as a copy from Raphael once assigned to the Sassoferrato or an altarpiece attributed to Marco Vecellio's circle.
In addition, this paper investigates the 19th-century criticism of draperies by Mantegna and Leonardo not only in relation to Giovanni Bellini's or Hubert and Jan van Eyck's oeuvre.
Finally, it hypothesyses the identification of a "Portrait of Thomas Gresham" assigned to the so-called 'Master of the 1540s'.
Provenance research on some paintings by Rubens, Jan van Hemessen, Guidoccio Cozzarelli and Callisto Piazza now placed in the Nationalmuseum (Stockholm)
Conference Presentations by Fabio Franz
During his stay in Saint Petersburg (1865), for instance, Cavalcaselle drew some noteworthy sketches and took some important notes about the technique, the conservation, the attribution and the provenance of some specific paintings placed in Russia that were then assigned - by him or other contemporary experts - to Schiavone. These materials, now kept in the Marciana National Library (Venice), enhance the comprehension of the ways in which Cavalcaselle, as well as his editorial partner, the British connoisseur Joseph Archer Crowe (1825-1896), studied and evaluated Schiavone's drawing, painting and etching skills.
This paper aims to shed more light on the availability to 19th-century scholars of the Barbarigo 'Saint Sebastian' by Titian (State Hermitage Museum, Saint Petersburg). Moreover, this essay’s purpose is to provide some unknown elements on the collecting and critical fortuna of some 'cassoni dipinti' and other specific paintings on panel or canvas that were once assigned to Meldola in Russia and in Western Europe.
This work will help scholars to improve the understading of how Cavalcaselle's and Crowe's method challenged some other major 19th-century European experts of Old Masters, as Gustav Friedrich Waagen (1794-1868) or Giovanni Morelli (1816-1891), in relation to Schiavone’s style and technique.
Art-historical partners Joseph Archer Crowe (1851) and Giovanni Battista Cavalcaselle (1865) made individual surveys in Denmark.
This paper speculates on their interactions with Danish expert Niels Lautitz Andreas Høyen (1798-1870). It focuses on Cavalcaselle’s Danish sketches (Marciana, Venice). Moreover, it offers new perspectives on Gustav Friedrich Waagen’s stay in Copenhagen (1868).
Furthermore, it expounds on the fortuna and conservation history of the "Man of Sorrow" by Andrea Mantegna, the "Portrait of Lorenzo Cybo" by Parmigianino, an altarpiece by Filippino Lippi, the alleged "Portrait of Antonio Galli" assigned to Titian or Federico Barocci and two male portraits assigend to Hans Memling and Andrea Del Sarto. Furthermore, it discusses the attribution of some other – mostly Valenti Gonzaga – paintings now in the Statens Museum for Kunst, as a copy from Raphael once assigned to the Sassoferrato or an altarpiece attributed to Marco Vecellio's circle.
In addition, this paper investigates the 19th-century criticism of draperies by Mantegna and Leonardo not only in relation to Giovanni Bellini's or Hubert and Jan van Eyck's oeuvre.
Finally, it hypothesyses the identification of a "Portrait of Thomas Gresham" assigned to the so-called 'Master of the 1540s'.
Provenance research on some paintings by Rubens, Jan van Hemessen, Guidoccio Cozzarelli and Callisto Piazza now placed in the Nationalmuseum (Stockholm)
During his stay in Saint Petersburg (1865), for instance, Cavalcaselle drew some noteworthy sketches and took some important notes about the technique, the conservation, the attribution and the provenance of some specific paintings placed in Russia that were then assigned - by him or other contemporary experts - to Schiavone. These materials, now kept in the Marciana National Library (Venice), enhance the comprehension of the ways in which Cavalcaselle, as well as his editorial partner, the British connoisseur Joseph Archer Crowe (1825-1896), studied and evaluated Schiavone's drawing, painting and etching skills.
This paper aims to shed more light on the availability to 19th-century scholars of the Barbarigo 'Saint Sebastian' by Titian (State Hermitage Museum, Saint Petersburg). Moreover, this essay’s purpose is to provide some unknown elements on the collecting and critical fortuna of some 'cassoni dipinti' and other specific paintings on panel or canvas that were once assigned to Meldola in Russia and in Western Europe.
This work will help scholars to improve the understading of how Cavalcaselle's and Crowe's method challenged some other major 19th-century European experts of Old Masters, as Gustav Friedrich Waagen (1794-1868) or Giovanni Morelli (1816-1891), in relation to Schiavone’s style and technique.