Burlington Contemporary is the Burlington Magazine’s free online platform for reviews and research on international contemporary art.
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Burlington Contemporary is the Burlington Magazine’s free online platform for reviews and research on international contemporary art.
EVER since opening to the public in November 1793, the Louvre has evoked conflicting reactions of admiration, envy, affection and despair from the foreign visitor. Unconstrained by political correctness, Kenneth Clark characterised it in his autobiography as a feminine institu- tion - complex, unpredictable, sometimes exasperating and always charming. Six months after the unveiling of the new Richelieu wing, its resemblance to an enchantress is less apparent. Rigour, logic and order are the macho qualities purporting to inform the Grand Louvre, and at times the exhausted visitor to the 213 additional rooms along the rue de Rivoli feels more like a defeated enemy than a complaisant lover. But it is impossible not to admire the sheer level of governmental commitment to museum culture that this vastly expensive project represents.
AFTER Carlo Maratti's death in 1713 the vast quantity of drawings which formed his fonds d'atelier was not entirely dispersed. Substantial groups remained with his daughter, Faustina, or were kept by various of his pupils and friends. Several of these groups have stayed almost intact to this day, the most significant being the collection of studio material taken to Spain by Andrea Procaccini in 1720 and now in the Academia de San Fernando, Madrid; the collection in the Kunstmuseum, Diisseldorf, which was bought by Lambert Krahe in Rome from the heirs of Maratti's friend Giuseppe Ghezzi ; and the several dozen sheets in Berlin which had belonged to Bartolommeo Cavaceppi. The smaller group now in the Royal Collec- tion at Windsor Castle comes from the Albani Collection, having probably been acquired from the Maratti estate by Clement XI between 1713 and 1721.
was not entirely dispersed. Substantial groups remained with his daughter, Faustina, or were kept by various of his pupils and friends. Several of these groups have stayed almost intact to this day, the most significant being the collection of studio material taken to Spain by Andrea Procaccini in 1720 and now in the Academia de San Fernando, Madrid; the collection in the Kunstmuseum, Diisseldorf, which was bought by Lambert Krahe in Rome from the heirs of Maratti's friend Giuseppe Ghezzi ; and the several dozen sheets in Berlin which had belonged to Bartolommeo Cavaceppi. The smaller group now in the Royal Collec- tion at Windsor Castle comes from the Albani Collection, having probably been acquired from the Maratti estate by Clement XI between 1713 and 1721.
IN the course of carrying out research on Pugin as a designer and collector for the Pugin Exhibition currently on show at the Victoria and Albert Museum, it has become apparent that Pugin was more involved in the early history of the Museum than had previously been thought. In the present article I shall discuss my preliminary findings on this subject, which I hope to explore at greater length on a subsequent occasion.
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