Papers by Matilde Cartolari
Restauro Archeologico, no.1, Special Issue "“Già chiamano in aiuto la chimica...” Il restauro da bottega a laboratorio scientifico e pratica di cantiere", 2023
In 1920, Andrée Ledoux Hahn sued the art dealer Joseph Duveen for jeopardizing the sale of her ve... more In 1920, Andrée Ledoux Hahn sued the art dealer Joseph Duveen for jeopardizing the sale of her version of the Louvre La Belle Ferronière, which she believed to be an original work by Leonardo da Vinci. The resulting trial is paradigmatic of the struggles to define art historical (and notably connoisseurial) expertise in the early 20th century. This paper focuses on two specific aspects of the trial. First, it considers the role of technical analysis as contentious evidence, whose lack of effectiveness was due both to Duveen's faulty defensive strategy (entirely based on the primacy of traditional connoisseurship) and to the uncertain status of the technical expertise at these dates. Second, the paper contextualizes one of the plaintiff’s recurring motifs – namely, Duveen’s hegemonic position in the art market and the patronage networks that tied him to his witnesses – to analyze the transactional dynamics linking the international art market to art history and museums.
Il restauro per immagini. Fotografia e restauro dall’Ottocento ad oggi, a cura di M. Cartolari, M. Visentin, Udine: Forum, 2022, pp.9-36
Il saggio prende in esame il rapporto fra fotografia e storia del restauro. Dopo aver tracciato u... more Il saggio prende in esame il rapporto fra fotografia e storia del restauro. Dopo aver tracciato una panoramica degli studi sul rapporto fra storiografia artistica e documentazione fotografica, l’analisi si concentra sul contesto italiano della prima metà del Novecento. I casi scelti (Gustav Ludwig, Mauro Pellicioli, Cesare Brandi) permettono di ripercorrere le differenti funzioni della fotografia per la storia del restauro, dalla prima ideazione all’esecuzione e documentazione dell’intervento.
The essay examines the relation between photography and conservation history in Italy in the first half of the 20th century. The examples chosen (Gustav Ludwig, Mauro Pellicioli, Cesare Brandi) allow to outline the multiple functions of photography in and for conservation history, from the first conception of the conservation treatment to its final execution and documentation.
Mauro Pellicioli e la cultura del restauro nel XX secolo, a cura di S. Cecchini, M. B. Failla, F. Giacomini, C. Piva, Genova: Sagep, 2022, pp.225-239
Il contributo analizza il trentennale rapporto di collaborazione che legò Mauro Pellicioli alla S... more Il contributo analizza il trentennale rapporto di collaborazione che legò Mauro Pellicioli alla Soprintendenza veneziana alla luce del contesto nazionale. All’ascesa di Pellicioli sulla scena lagunare corrispose un periodo di totale sinergia operativa con le direttive ministeriali, culminato con la nomina di Pellicioli a restauratore capo del neonato ICR. L’aspro dissenso esploso fra Roberto Longhi e Cesare Brandi nel 1948 riecheggiò a Venezia nelle pretestuose polemiche sulla mostra di Giovanni Bellini (1949), aprendo una lacerazione i cui effetti perdurarono per decenni.
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The paper analyses the thirty-year collaboration that tied Mauro Pellicioli to the Venetian Soprintendenza in the light of the national context. Pellicioli's rise in Venice corrisponded to a period of full synergy with the Minister, culminating in his appointment as chief restorer of the newly-established ICR. The bitter disagreement that erupted between Roberto Longhi and Cesare Brandi in 1948 was echoed in Venice in the controversy over the Giovanni Bellini exhibition (1949), creating a tear whose effects would last for decades.
Museographie. Musei in Europa negli anni tra le due guerre. La Conferenza Di Madrid Del 1934. Un dibattito internazionale, a cura di E. Dellapiana, M.B. Failla, F. Varallo, Genova: Sagep 2020, pp.393-401
Il saggio riconsidera le vicende che portarono all'installazione dell'impianto di illuminazione e... more Il saggio riconsidera le vicende che portarono all'installazione dell'impianto di illuminazione elettrica presso la Scuola Grande di S. Rocco in occasione della mostra di Tintoretto nel 1937. Partendo dalla figura di Mariano Fortuny, il saggio esplora il rapporto fra museo e teatro e il ruolo dell'illuminazione artificiale nel dibattito museografico internazionale negli anni Trenta.
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This paper reconsiders the events that led to the installation of the electric lighting system at the Scuola Grande di S. Rocco on the occasion of the Tintoretto exhibition in 1937. Focusing on the figure of Mariano Fortuny, the essay explores the relationship between museum and theatre and the role of artificial lighting in the international museographic debate in the 1930s.
Rodolfo Pallucchini: storie, archivi, prospettive critiche, Atti del convegno (Udine, 12-13 marzo 2019), a cura di Claudio Lorenzini, Udine: Forum, 2019, pp.261-279
Il contributo si concentra sull’attività curatoriale di Rodolfo Pallucchini negli anni di servizi... more Il contributo si concentra sull’attività curatoriale di Rodolfo Pallucchini negli anni di servizio presso il Comune di Venezia (1938-1950). Le mostre dirette da Pallucchini (Mostra di Veronese, 1939; Cinque secoli di pittura veneta, 1945; I capolavori dei musei veneti, 1946) sono oggetto di un'analisi mirata che, a partire dal materiale conservato nell'archivio dello studioso e dalle fotografie delle sale recentemente rinvenute, intende porle in rapporto al proprio contesto di sviluppo, nel filo diretto che collega l'esperienza veneziana del dopoguerra al dibattito museografico internazionale degli anni Trenta.
This paper focuses on the curatorial activity of Rodolfo Pallucchini during his years of service at the Municipality of Venice (1938-1950). The exhibitions directed by Pallucchini (Mostra di Veronese, 1939; Cinque secoli di pittura veneta, 1945; I capolavori dei musei veneti, 1946) are the object of a detailed analysis based on the material preserved in the scholar's archive and on newly discovered photographs of the exhibition rooms. The analysis aims to place those exhibitions into their context of evolution, by connecting Venetian post-war museography with the international museum context of the 1930s.
Giovanni Bellini: “… il migliore nella pittura”, a cura di P. Humfrey, V. Mancini, A. Tempestini e G.C.F. Villa, Venezia, Edizioni Lineadacqua, 2019, pp.267-279
Dopo il successo della mostra londinese del 1930, Mauro Pellicioli si affermò progressivamente a ... more Dopo il successo della mostra londinese del 1930, Mauro Pellicioli si affermò progressivamente a Venezia come restauratore di fiducia della Soprintendenza retta da Gino Fogolari. A partire dagli anni Trenta il restauratore bergamasco intervenne su numerose opere veneziane, sia in museo che sul territorio. Il presente contributo si sofferma sul restauro di alcune opere belliniane delle Gallerie dell’Accademia (la Pietà Donà delle Rose, la c.d. Madonna del pollice e la Madonna in trono col Bambino dormiente), analizzando le scelte operative messe in atto nelle differenti fasi di restauro (dall’intervento sul supporto alla pulitura fino all’integrazione) alla luce di nuovi materiali documentari, con l’obiettivo di sottolinearne il rapporto con gli orientamenti museografici e della cultura del restauro del tempo.
After the success of the London exhibition in 1930, Mauro Pellicioli gradually established his position in Venice as the trusted restorer of the Soprintendenza led by Gino Fogolari. From the 1930s he restored many Venetian artworks, in and outside museum collections. This paper focuses on the restoration of some Bellini's works in the Gallerie dell'Accademia (the Pietà Donà delle Rose, the so-called Madonna del pollice and the Madonna enthroned with the sleeping Child). It analyzes the operational choices made during the different phases of the restoration process (from the intervention on the support to the cleaning and re-integration) in the light of new documents, in order to underline their relationship with the museographic and cultural orientation of the time.
"Studi di Memofonte" 18 (2017), pp. 81-98, 2017
La campagna di restauri condotta da Mauro Pellicioli in occasione della mostra di Paolo Veronese ... more La campagna di restauri condotta da Mauro Pellicioli in occasione della mostra di Paolo Veronese (Venezia, Ca’ Giustinian e Ridotto, 25 aprile-4 novembre 1939) cade in un momento decisivo per la storia della tutela in Italia, nell’anno che vide la nascita dell’Istituto Centrale del Restauro e la promulgazione delle leggi Bottai. Il presente saggio intende offrirsi come proposta di interpretazione e approfondimento – in rapporto al contesto culturale e nel dialogo fra istituzioni centrali e periferiche – di alcuni dei più significativi restauri veronesiani analizzandoli alla luce di nuovi materiali fotografici e documentari.
The restorations performed by Mauro Pellicioli in concomitance with Paolo Veronese’s exhibition (Venice, Ca’ Giustinian and Ridotto, April 25th - November 4th, 1939) took place in a crucial moment for Italian conservation history, when the Istituto Centrale del Restauro was founded and new heritage protection laws were issued. By presenting new archival and photographic evidence, this paper offers an insight into Pellicioli’s most significant restorations in relation to the institutional context, both regionally and nationally.
Musei e mostre tra le due guerre, a cura di S. Cecchini e P. Dragoni, "Il Capitale culturale. Studies on the Value of Cultural Heritage" 14 (2016), pp.459-502, 2016
La mostra di Paolo Veronese si svolse a Venezia nel 1939 sotto la direzione di Rodolfo Pallucchin... more La mostra di Paolo Veronese si svolse a Venezia nel 1939 sotto la direzione di Rodolfo Pallucchini. Promuovendo una ricognizione materiale e critica dell’opera del maestro, la mostra fu l’occasione per effettuare una massiccia campagna di restauri ad opera del bergamasco Mauro Pellicioli e della sua squadra di collaboratori. Agendo sul duplice fronte della museografia e del restauro, Pallucchini si pose in dialogo con le parallele definizioni elaborate in sede istituzionale da Guglielmo Pacchioni e Giulio Carlo Argan. Il presente saggio intende offrire, attraverso materiale archivistico inedito, un’analisi del ruolo della mostra di Veronese nel contesto nazionale e internazionale, ricostruendo con un approccio interdisciplinare le dinamiche teoriche e operative che ne animarono lo svolgimento.
Veronese's exhibition took place in Venice in 1939 under the direction of Rodolfo Pallucchini. While promoting both material and critical examination of Veronese’s work, the exhibition was an opportunity to undertake a massive restoration campaign, performed by Mauro Pellicioli and his team of collaborators. Pallucchini’s museographical and conservative program was in close relation with the theories promoted by Guglielmo Pacchioni and Giulio Carlo Argan in public administration. This paper offers, through unpublished archival evidence, a detailed analysis of Veronese exhibition in relation to the national and international context, in order to understand with an interdisciplinary approach both its theoretical and practical aspects.
Il restauro come atto critico. Venezia e il suo territorio, a cura di C. Piva, Quaderni di Venezia Arti, 1, 2014 Edizioni Ca’ Foscari - Digital Publishing, pp.123-140
Sergio Bettini was an important art historian and critic. After studying with Giuseppe Fiocco, he... more Sergio Bettini was an important art historian and critic. After studying with Giuseppe Fiocco, he focused his research on medieval art, in the wake of A. Riegl and H. Focillon’s studies. The originality of his method earned him the first tenure as Medieval art Professor at the University of Padua. This study aims at reconstructing Bettini’s theoretical and practical approach to conservation issues during his activity as director in Padua City Museum (1939-1949) and for the exhibition Venezia e Bisanzio (1974) and his problematic relation to Cesare Brandi's work.
Conference Presentations by Matilde Cartolari
Making museum professionals: Transnational forces: 11 June 2024, Berlin, Technische Universität. ... more Making museum professionals: Transnational forces: 11 June 2024, Berlin, Technische Universität.
The workshop is co-organised by Kate Hill, Andrea Meyer, Tamsin Russell, Nushelle de Silva and Claire Wintle, with support from the University of Brighton’s Centre for Design History, as part of the AHRC research network Making Museum Professionals, 1850-the present.
Workshop Staging italianità between Race, Science and the Arts, organised by Beatrice Falcucci, K... more Workshop Staging italianità between Race, Science and the Arts, organised by Beatrice Falcucci, KNIR (Rome), 26 September 2023
L’EXPOSITION À L’OUVRAGE. Histoire, formes et enjeux du catalogue d’exposition. Journées d’études... more L’EXPOSITION À L’OUVRAGE. Histoire, formes et enjeux du catalogue d’exposition. Journées d’études internationales, organisée par Victor Claass, Mica Gherghescu, Marie Gispert, Hélène Trespeuch. Paris, INHA/Centre Pompidou, 11–13 mai 2023
Le donne storiche dell'arte, a cura di Eliana Carrara e Patrizia Dragoni, Genova, 26-27 maggio 2022
Il Seicento e il Settecento alle Gallerie dell’Accademia. Nuovi studi, a cura di Giulio Manieri E... more Il Seicento e il Settecento alle Gallerie dell’Accademia. Nuovi studi, a cura di Giulio Manieri Elia e Michele Nicolaci, Venezia, Gallerie dell'Accademia (22-23 febbraio 2022)
Contro l'identità? / Against Identity. Discourses of art history and visual
culture in italy, or... more Contro l'identità? / Against Identity. Discourses of art history and visual
culture in italy, organised by Davide Ferri and Giada Policicchio, Florence, Kunsthistorisches Institut (9-10 December 2021)
La fotografia i suoi usi nel mercato artistico (1880-1939). Protagonisti, narrazioni, raccolte, W... more La fotografia i suoi usi nel mercato artistico (1880-1939). Protagonisti, narrazioni, raccolte, Webinar internazionale, 14-16 ottobre 2021
Who is the Artist? Kennerschaftliche Praxis in Museen, Forum Kunst und Markt, TU / Marc Bloc Zent... more Who is the Artist? Kennerschaftliche Praxis in Museen, Forum Kunst und Markt, TU / Marc Bloc Zentrum, Berlin, Online-Workshop (15 June 2021).
Seminario sul rapporto fra fotografia e storia del restauro (Università degli Studi di Udine, 19-... more Seminario sul rapporto fra fotografia e storia del restauro (Università degli Studi di Udine, 19-20 giugno 2019)
by Maria Beatrice Failla, Silvia Cecchini, Patrizia Dragoni, Almudena Pérez de Tudela, Chiara Piva, Antonio García Bascón, Andrea Leonardi, Jennifer Cooke, Caterina Paparello, Stefania Zuliani, Alessandra Galizzi Kroegel, Alessandro Martini, Matilde Cartolari, and Valeria Finocchi Il 26 e il 27 febbraio si svolgerà presso l'Università degli Studi e il Politecnico di Torino un ... more Il 26 e il 27 febbraio si svolgerà presso l'Università degli Studi e il Politecnico di Torino un convegno sulla cultura museologica, il dibattito critico, la gestione dei musei negli anni a ridosso della Conferenza di Madrid del 1934
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Papers by Matilde Cartolari
The essay examines the relation between photography and conservation history in Italy in the first half of the 20th century. The examples chosen (Gustav Ludwig, Mauro Pellicioli, Cesare Brandi) allow to outline the multiple functions of photography in and for conservation history, from the first conception of the conservation treatment to its final execution and documentation.
**
The paper analyses the thirty-year collaboration that tied Mauro Pellicioli to the Venetian Soprintendenza in the light of the national context. Pellicioli's rise in Venice corrisponded to a period of full synergy with the Minister, culminating in his appointment as chief restorer of the newly-established ICR. The bitter disagreement that erupted between Roberto Longhi and Cesare Brandi in 1948 was echoed in Venice in the controversy over the Giovanni Bellini exhibition (1949), creating a tear whose effects would last for decades.
**
This paper reconsiders the events that led to the installation of the electric lighting system at the Scuola Grande di S. Rocco on the occasion of the Tintoretto exhibition in 1937. Focusing on the figure of Mariano Fortuny, the essay explores the relationship between museum and theatre and the role of artificial lighting in the international museographic debate in the 1930s.
This paper focuses on the curatorial activity of Rodolfo Pallucchini during his years of service at the Municipality of Venice (1938-1950). The exhibitions directed by Pallucchini (Mostra di Veronese, 1939; Cinque secoli di pittura veneta, 1945; I capolavori dei musei veneti, 1946) are the object of a detailed analysis based on the material preserved in the scholar's archive and on newly discovered photographs of the exhibition rooms. The analysis aims to place those exhibitions into their context of evolution, by connecting Venetian post-war museography with the international museum context of the 1930s.
After the success of the London exhibition in 1930, Mauro Pellicioli gradually established his position in Venice as the trusted restorer of the Soprintendenza led by Gino Fogolari. From the 1930s he restored many Venetian artworks, in and outside museum collections. This paper focuses on the restoration of some Bellini's works in the Gallerie dell'Accademia (the Pietà Donà delle Rose, the so-called Madonna del pollice and the Madonna enthroned with the sleeping Child). It analyzes the operational choices made during the different phases of the restoration process (from the intervention on the support to the cleaning and re-integration) in the light of new documents, in order to underline their relationship with the museographic and cultural orientation of the time.
The restorations performed by Mauro Pellicioli in concomitance with Paolo Veronese’s exhibition (Venice, Ca’ Giustinian and Ridotto, April 25th - November 4th, 1939) took place in a crucial moment for Italian conservation history, when the Istituto Centrale del Restauro was founded and new heritage protection laws were issued. By presenting new archival and photographic evidence, this paper offers an insight into Pellicioli’s most significant restorations in relation to the institutional context, both regionally and nationally.
Veronese's exhibition took place in Venice in 1939 under the direction of Rodolfo Pallucchini. While promoting both material and critical examination of Veronese’s work, the exhibition was an opportunity to undertake a massive restoration campaign, performed by Mauro Pellicioli and his team of collaborators. Pallucchini’s museographical and conservative program was in close relation with the theories promoted by Guglielmo Pacchioni and Giulio Carlo Argan in public administration. This paper offers, through unpublished archival evidence, a detailed analysis of Veronese exhibition in relation to the national and international context, in order to understand with an interdisciplinary approach both its theoretical and practical aspects.
Conference Presentations by Matilde Cartolari
https://www.zikg.eu/aktuelles/veranstaltungen/2024/workshop-der-brand-im-muenchner-glaspalast-1931
The workshop is co-organised by Kate Hill, Andrea Meyer, Tamsin Russell, Nushelle de Silva and Claire Wintle, with support from the University of Brighton’s Centre for Design History, as part of the AHRC research network Making Museum Professionals, 1850-the present.
culture in italy, organised by Davide Ferri and Giada Policicchio, Florence, Kunsthistorisches Institut (9-10 December 2021)
The essay examines the relation between photography and conservation history in Italy in the first half of the 20th century. The examples chosen (Gustav Ludwig, Mauro Pellicioli, Cesare Brandi) allow to outline the multiple functions of photography in and for conservation history, from the first conception of the conservation treatment to its final execution and documentation.
**
The paper analyses the thirty-year collaboration that tied Mauro Pellicioli to the Venetian Soprintendenza in the light of the national context. Pellicioli's rise in Venice corrisponded to a period of full synergy with the Minister, culminating in his appointment as chief restorer of the newly-established ICR. The bitter disagreement that erupted between Roberto Longhi and Cesare Brandi in 1948 was echoed in Venice in the controversy over the Giovanni Bellini exhibition (1949), creating a tear whose effects would last for decades.
**
This paper reconsiders the events that led to the installation of the electric lighting system at the Scuola Grande di S. Rocco on the occasion of the Tintoretto exhibition in 1937. Focusing on the figure of Mariano Fortuny, the essay explores the relationship between museum and theatre and the role of artificial lighting in the international museographic debate in the 1930s.
This paper focuses on the curatorial activity of Rodolfo Pallucchini during his years of service at the Municipality of Venice (1938-1950). The exhibitions directed by Pallucchini (Mostra di Veronese, 1939; Cinque secoli di pittura veneta, 1945; I capolavori dei musei veneti, 1946) are the object of a detailed analysis based on the material preserved in the scholar's archive and on newly discovered photographs of the exhibition rooms. The analysis aims to place those exhibitions into their context of evolution, by connecting Venetian post-war museography with the international museum context of the 1930s.
After the success of the London exhibition in 1930, Mauro Pellicioli gradually established his position in Venice as the trusted restorer of the Soprintendenza led by Gino Fogolari. From the 1930s he restored many Venetian artworks, in and outside museum collections. This paper focuses on the restoration of some Bellini's works in the Gallerie dell'Accademia (the Pietà Donà delle Rose, the so-called Madonna del pollice and the Madonna enthroned with the sleeping Child). It analyzes the operational choices made during the different phases of the restoration process (from the intervention on the support to the cleaning and re-integration) in the light of new documents, in order to underline their relationship with the museographic and cultural orientation of the time.
The restorations performed by Mauro Pellicioli in concomitance with Paolo Veronese’s exhibition (Venice, Ca’ Giustinian and Ridotto, April 25th - November 4th, 1939) took place in a crucial moment for Italian conservation history, when the Istituto Centrale del Restauro was founded and new heritage protection laws were issued. By presenting new archival and photographic evidence, this paper offers an insight into Pellicioli’s most significant restorations in relation to the institutional context, both regionally and nationally.
Veronese's exhibition took place in Venice in 1939 under the direction of Rodolfo Pallucchini. While promoting both material and critical examination of Veronese’s work, the exhibition was an opportunity to undertake a massive restoration campaign, performed by Mauro Pellicioli and his team of collaborators. Pallucchini’s museographical and conservative program was in close relation with the theories promoted by Guglielmo Pacchioni and Giulio Carlo Argan in public administration. This paper offers, through unpublished archival evidence, a detailed analysis of Veronese exhibition in relation to the national and international context, in order to understand with an interdisciplinary approach both its theoretical and practical aspects.
https://www.zikg.eu/aktuelles/veranstaltungen/2024/workshop-der-brand-im-muenchner-glaspalast-1931
The workshop is co-organised by Kate Hill, Andrea Meyer, Tamsin Russell, Nushelle de Silva and Claire Wintle, with support from the University of Brighton’s Centre for Design History, as part of the AHRC research network Making Museum Professionals, 1850-the present.
culture in italy, organised by Davide Ferri and Giada Policicchio, Florence, Kunsthistorisches Institut (9-10 December 2021)
Deadline: 23.02.2025
Nushelle de Silva, Fordham University, USA. [email protected]
Deadline for submissions: 1 November 2024
Date: 24.07.2024;
Place: online/Munich, Zentralinstitut für Kunstgeschichte
https://www.zikg.eu/aktuelles/nachrichten/call-for-contributions-der-brand-im-muenchner-glaspalast-1931
Deadline for submission: 31.01.2024
Ciclo di incontri a cura di: Alice Cazzola, Katharina Hüls-Valenti, Alice Martignon, Caterina Paparello, Giulio Pojana, Giulio Zavatta
nuove proposte di studio. Ciclo di incontri a cura di Cecilia Prete, Università di degli Studi di Urbino - 25 ottobre 2022