Thorvaldsen’s marble connections

Although one of the most celebrated sculptors of the nineteenth century, little is known about Bertel Thorvaldsen’s relationship with the white marble he sculpted from. Today, scholars generally accept that Thorvaldsen knew how to sculpt in marble; however, for many years - including during his own lifetime - people regarded his investment in the white stone as somewhat detached. Taking the debate around Thorvaldsen’s marble-carving skills as a point of departure, this article analyses the evidence at hand: the marble sculptures themselves as preserved in the Thorvaldsen Museum in Copenhagen. Exploring the preserved surface textures on selected marble works, this article argues that Thorvaldsen engaged and experimented with different types of textural effects and marble types, revealing a yet unseen sensitivity towards the historic and symbolic significance layered in the stones themselves.

Impure stone and the threat to decency: marble tints and veins

According to the classical tradition, marble sculptures were to be made of ‘pure’ white material. This remained an aesthetic ideal even after archaeological findings had revealed evidence of ancient polychromy. This article argues that tinting as well as natural staining on marble figures in the late eighteenth and nineteenth centuries were not only aesthetically but also morally reprehensible, because they violated the ideal of homo clausus. This term, coined by the sociologist Norbert Elias, conceptualizes a subject that imposes ‘self-restraint’ to control its physical body and its emotions. Perfect control was seen embodied in the ancient images of the gods, which were assumed to have been made of immaculate white marble. Any colouring, whether of natural origin or deliberately produced, seemed to contaminate this concept. My investigation is focused on the historical justifications for John Gibson’s scandalous Tinted Venus, and figures of veined marble rejected in France on similar grounds in the late eighteenth century, such as Christoph-Gabriel Allegrain’s Venus and Jean-Antoine Houdon’s Frileuse. I examine how the coloured veins and tints of the stone gained semantic qualities in female figures, where a blush or a vein seemed to reveal emotions and desires and thus infringe the ideal.

ultima opera di Malvasia: 'Il Claustro di S. Michele in Bosco' e la decorazione carraccesca tra finzione e verità

The Carracci's decorative vocabulary (from the early Bolognese friezes to the cycles of the Farnese Gallery in Rome and of the Cloister of San Michele in Bosco in Bologna) made extensive use of anthropomorphic supports, especially telamons and terms. Painted with a monochromatic technique, they deceived the beholder for their effective imitation of marble sculptures that illusively jut from the surface of the wall. While art historical scholarship mainly discussed them in regard to their chronology, attribution, iconography and their relationship with the Cinquecento decoration systems, their early reception still lacks a comprehensive assessment. This essay aims to undertake it through the case study of Il Claustro di S. Michele in Bosco, the last art-historical work by Malvasia. A section of this booklet is dedicated to the chiaroscuro"Termini" flanking the episodes of the life of St. Benedict painted by Ludovico Carracci and his pupils in the cloister of the Bolognese Olivetan monastery. Giacomo Giovannini, the engraver to whom Malvasia commissioned the illustrations included in the volume, also reproduced these painted sculptures in four etchings. By referring to a central couplet from the famous sonnet by Agostino Carracci "in lode di Nicolò Bolognese", he characterized Ludovico's (and Reni's) telamons as Michelangiolesque in their contour and Tizianesque in their naturalezza, as opposed to Annibale's terms frescoed in the Farnese Gallery, whose style Malvasia considered too harsh and dry ("statuino"). In this essay, Malvasia's notes on the cloister's telamons will be compared to his previous critical works and will be contextualized within the seventeenth-century Literature of Art and the coeval reproductive printmaking. As I will demonstrate, Malvasia aimed to restore the central role played by Agostino and Ludovico in the renovation of this decorative style, a role that was obscured by Annibale's growing fame in this genre of painting, particularly driven by the prints after his frescoes in the Farnese Palace published in the second half of the seventeenth century. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.

Pontormo and the Art of Devotion in Renaissance Italy

Both lauded and criticized for his pictorial eclecticism, the Florentine artist Jacopo Carrucci, known as Pontormo, created some of the most visually striking religious images of the Renaissance. These paintings, which challenged prevailing illusionistic conventions, mark a unique contribution into the complex relationship between artistic innovation and Christian traditions in the first half of the sixteenth century. Pontormo's sacred works are generally interpreted as objects that reflect either pure aesthetic experimentation, or personal and cultural anxiety. Jessica Maratsos, however, argues that Pontormo employed stylistic change deliberately for novel devotional purposes. As a painter, he was interested in the various modes of expression and communication - direct address, tactile evocation, affective incitement - as deployed in a wide spectrum of devotional culture, from sacri monti, to Michelangelo's marble sculptures, to evangelical lectures delivered at the Accademia Fiorentina. Maratsos shows how Pontormo translated these modes in ways that prompt a critical rethinking of Renaissance devotional art.

Visible Light Communications through Diffusive Illumination of Sculptures in a Real Museum

The recent, massive diffusion of LED-based illumination devices makes Visible Light Communications (VLC) a widely recognised wireless communication technology with large potential impact in many indoor and outdoor applications. In the indoor scenario, one of the most promising VLC implementations is foreseen in museums, exhibitions and cultural heritage sites. In this context, digital data can be transmitted by the specific lighting system of each artwork and received by the nearby standing visitors, allowing a complete set of dedicated services such as augmented reality (AR) and real-time indoor positioning, exploiting the directionality of the optical channel. In this work, we achieve, for the first time, VLC transmission through diffusive LED illumination of three-dimensional artworks (wooden and marble sculptures) in a real museum, exploiting the available LED illumination system, demonstrating the feasibility of VLC technology also when complex three-dimensional artworks, such as sculptures or bas-reliefs, are involved. In our experimental campaign, performed inside the Basilica of Santa Maria Novella in Florence, we perform extensive Packet Error Rate (PER) and Signal-to-Noise Ratio (SNR) tests on two important wooden and marble sculptures (Crucifix by Brunelleschi and the Holy Water Font by Bordoni, respectively), for different distances, view angles and configurations, in order to mimic a wide set of situations that visitors may encounter in a realistic scenario. We achieve successful VLC transmission for distances up to 8 m from artworks, at baud rate of 28 kBaud. We also provide detailed results on the characterization of the transmission Field of View (FoV) for our prototype, as well as the effect of side shifts of the observer’s position on the quality of VLC transmission, providing essential information for future implementations of positioning protocols and dedicated services in realistic, indoor scenarios. Our work represents an important step forward towards the deployment of VLC technology in museums and, more in general, it opens for far-reaching developments in a wide set of real indoor environments, including the cultural heritage sector, where diffusive VLC links exploiting illumination of three-dimensional objects could represent a ground-breaking innovation.

Ravenna on the grand tour: a view of late antiquity in the eighteenth century

Ravenna, the former grand capital of the late Roman and early Byzantine Empires and a popular modern UNESCO World Heritage site, is a city rarely included in major historical surveys of Italy during the Grand Tour. An exploration of period sources may reveal why: it was, for many centuries between the Middle Ages and the nineteenth century, a rundown parish town that was incredibly difficult to reach by conventional transportation. This article collates and deconstructs a number of Grand Tour sources in order to gain an understanding of Ravenna in the eighteenth century, and, further, an understanding of the contemporary attitudes towards post-Classical monuments and artwork. This exploration allows us to ask broader questions about Ravenna’s place on the Grand Tour. As a city with very little to offer in the way of Classical monuments, it slightly complicates our idea of classical reception on the Grand Tour and shows us how travellers navigated a place replete with late antique basilicas and Byzantine mosaics instead of marble sculptures and tombs.

Politura and Polychromy on Ancient Marble Sculpture

The highly nuanced surface polishes evident on marble sculptures from the later Greek and Roman periods were integral to their material and polychrome aesthetics in antiquity. This paper reconsiders these polishes (L. politura, -ae) that remain often summarily described and little examined. Aspects of the textual, archaeological, and physical evidence for polishes on marble sculpture are critically commented upon and post-antique assumptions about the techniques and intended viewing of polished marble surfaces are critiqued. The polishes on marble statuary may be profitably compared to other translucent painted media, including the ancient tradition of painted glass, exemplified by the little-known Paris Plate, and the larger, diverse range of translucent stone sculpture in antiquity. These comparisons form a basis for rethinking common assumptions about polished white marble, its relative status in antiquity, and the craft specialization of ancient sculptors.

Between the Ideal and Artistic Practice. On Research into Ancient Sculptural Polychromy

Antiquity is often synonymous with white marble. Such are the general expectations when visitors enter 21st century museum galleries hosting ancient sculpture. Yet, ancient marble sculptures have never been actually white. They were originally fully painted or otherwise coloured, and today they pose as controlled ruins build by decades of restorations, de-restorations and preservation manifested as encrusted layers and patina. As such they express the modern ideal, meaning ideas of aesthetics developed by 19th and 20th century museums. They do not reflect the ancient artistic practice or the ideas of aesthetics that once guided the ancient craftspeople. The experimental reconstructions -meaning painted copies of authentic sculptures- are therefore often met with suspicion and sometimes frustration, because they explore the artistic practice above the ideal. Unlike the ancient originals, the painted copies are not in any way visually authentic, but fully polychrome, and layers of paint are often applied in thick, opaque layers, thus failing to meet the ideas of aesthetics on behalf of the modern viewer. While the reconstructions serve as seminal research tools in the academic exploration and experimentation with colours on white marble sculptures, they have no precedents in the history of art. This article will therefore explore how reviews of these experimental reconstructions echoes ideas of aesthetics originating from the 19th century, and how a lack of confronting these ideas ultimately empowers the reconstructions with the potential to impose a much-needed material diversity to 21st century classical sculpture galleries.