Considering the Collection & A Vista on Italy and France
The publication of a comprehensive inventory catalogue of Italian, French and Spanish art in the Paintings Gallery is the occasion for a new focus on Italian and French works from the collection, which will be shown in the first two rooms of the Gallery, alongside the highlights from the collection from Bosch to Rubens in the other rooms. This is also an opportunity to consult the new 672-page catalogue.
The scholary catalogue of collection holdings, compiled by our long-serving Paintings Gallery custodian Martina Fleischer, covers works from Romanesque schools from the fourteenth to the eighteenth centuries in around 200 comprehensive texts. The works include panel paintings by Simone da Bologna, Antonio da Fabriano, and Botticelli, Titian’s late work Tarquin and Lucretia, Giambattista Tiepolo’s bozzetto Phaeton and Apollo, and the in total eight views of Venice by Francesco Guardi. Highlights among the French works include the two rare pastoral landsapes by Claude Lorrain and Pierre Subleyras’s “studio picture” painted on both sides, while the Spanish schools include Murillo’s Boys Playing Dice and the sketch in oils for Foundation of the Tritinarian Order by Carreño de Miranda. More than a third of the texts are complemented by hitherto unpublished results of research undertaken by the Institute for Natural Sciences and Technologies in Art at the Academy, including x-radiographs and infrared reflectography.
The scholary catalogue of collection holdings, compiled by our long-serving Paintings Gallery custodian Martina Fleischer, covers works from Romanesque schools from the fourteenth to the eighteenth centuries in around 200 comprehensive texts. The works include panel paintings by Simone da Bologna, Antonio da Fabriano, and Botticelli, Titian’s late work Tarquin and Lucretia, Giambattista Tiepolo’s bozzetto Phaeton and Apollo, and the in total eight views of Venice by Francesco Guardi. Highlights among the French works include the two rare pastoral landsapes by Claude Lorrain and Pierre Subleyras’s “studio picture” painted on both sides, while the Spanish schools include Murillo’s Boys Playing Dice and the sketch in oils for Foundation of the Tritinarian Order by Carreño de Miranda. More than a third of the texts are complemented by hitherto unpublished results of research undertaken by the Institute for Natural Sciences and Technologies in Art at the Academy, including x-radiographs and infrared reflectography.