Papers by Tiziano Casola
Canova: studi e ricerche, vol. 1 (Roma, Accademia Nazionale di San Luca), 2023
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"Restauro Archeologico" Vol. 30 No. 2 (2022), 2022
An unpublished document in the archives of the Accademia di San Luca bears witness to the proposa... more An unpublished document in the archives of the Accademia di San Luca bears witness to the proposal of a 'restoration' test addressed to students of theoretical architecture, on the occasion of the annual school competition in 1840. The reasons for the idea, consisting in the elaboration of a project for the restoration of the Temple of Mars Ultor in the Roman forum, are here traced back to the collapse of part of the Monastery of the Annunziata ai Pantani, which had developed over the centuries close to the remains of the temple, which had occurred the previous year. The competition outline, drawn up by architect Gaspare Salvi, certifies that at the time the building was to be demolished with a view to 'in style' completion of the temple, which was not carried out. Although promptly rejected, in its nature of an isolated case, Salvi's proposal contributed to the reflection on the idea of archaeological restoration in the academic training of young architects and to a greater definition of the thinking regarding the possibility of intervention on ancient monuments in the first half of the 19th century in Rome.
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Storia della Critica d’Arte - Annuario della S.I.S.C.A., 2022
Tiziano Casola - Updates and clarifications on John Deare: a new Irish correspondence, new source... more Tiziano Casola - Updates and clarifications on John Deare: a new Irish correspondence, new sources, new interpretations
The figure of the sculptor John Deare (1759-1798) – originally from Liverpool, but active in Rome until his death in the last quarter of the 18th century – has been progressively rediscovered by scholars in the last twenty years. New sources make it possible not only to confirm the idea of his leading role in the pre-Napoleonic Roman scene, but also to highlight his complexity within the artistic system of his time, thus defining a more precise profile of the sculptor. In particular, a new correspondence highlights Deare’s relations with anti-British circles (the commissioning of pro-French Irish military aristocracies), an issue that led to recurring mentions of him in the sources of the time as a “no longer English” artist, a question to which the studies so far compiled do not seem to have given due weight. In addition, an analysis of Deare’s biography and social networks makes it possible to reflect on his role within the Anglo-
Roman colony, as well as the nature of his critical fortune, while new drawings and documents provide insight into the composition and working methods of the sculptor’s workshop.
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RIVISTA DELL’ISTITUTO NAZIONALE D’ARCHEOLOGIA E STORIA DELL’ARTE, 77, III serie, anno xlv, 2022
«I hope you’re a again pittore di storia»: The Spartan
Isada by Charles lock Eastlake and the Ang... more «I hope you’re a again pittore di storia»: The Spartan
Isada by Charles lock Eastlake and the Anglo-Roman Painting
around the year 1827 · Studies about Charles Lock Eastlake’s
pictorial activity have always taken a back seat to the
roles he held in English cultural institutions. Yet, the works
and events related to Eastlake’s Roman painting production
– in particular around the year 1827 – provides a unique
insight into the activities of the new group of British
painters who settled in Rome after the end of the Napoleonic
wars. What emerges is a unanimous ambition to a
‘large scale’ history painting, devoted to a confrontation
with Europe and to the rejection of the cult of English isolationism,
as well as a common path of voluntary sharing
of working spaces, collective practice and the creative
phase of the works. An inclination facilitated by the founding
of the British Academy of Arts in Rome in 1823 and in
tune with other artistic communities in Rome at the time.
This essay analyses Eastlake’s production of history paintings
in Rome and compare it with that of his Anglo-Roman
contemporaries (especially Joseph Severn and John Bryant
Lane), highlighting the figurative and sense connections
between the various works.
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"Rivista d'Arte", LVI, n. 11 (2021), pp. 241-255., 2021
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Journal of Anglo-Italian Studies, 2020
John Bryant Lane (1788-1868), pittore britannico originario della Cornovaglia, a Roma tra il 1816... more John Bryant Lane (1788-1868), pittore britannico originario della Cornovaglia, a Roma tra il 1816 e il 1827, per almeno dieci anni fu impegnato nella realizzazione di una pala d'altare raffigurante "La Visione di Giuseppe", di cui oggi non resta nulla. Il dipinto, di dimensioni insolitamente imponenti, fu eseguito per Francis Basset (1757-1835), primo barone di Dunstanville, noto mecenate e conterraneo di Lane. L'opera, non appena esibita a Roma nel 1827, fu giudicata sacrilega e censurata dalla Chiesa, principalmente perché raffigurante Giuseppe e Maria addormentati nello stesso letto. Questo e altri fattori portarono Lane ad essere immediatamente bandito dallo Stato Pontificio. Le vicende legate al dipinto, l'anno successivo pubblicamente esposto a Londra, sono documentate da alcuni pamphlet e decine di periodici dell'epoca, sia inglesi che italiani. Grazie alle tante testimonianze, è possibile ricostruire nel dettaglio la composizione della Visione di Giuseppe di Lane, volutamente lontana da ogni precedente elaborazione del soggetto e sicuramente complessa, in quanto popolata da almeno quarantacinque figure. Il dipinto, per stile, dimensioni e ideazione bizzarra, fu accolto già ai tempi come un caso eccezionale nella giovane tradizione pittorica anglosassone. In ultimo, dalle stesse fonti è possibile ricavare dettagli su un'opera di Bertel Thorvaldsen tutt'oggi mai rinvenuta: un busto ritratto di Francis Basset riprodotto da Bryant Lane all'interno del dipinto.
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"La storia dell’arte illustrata e la stampa di traduzione tra XVIII e XIX secolo", a cura di Ilaria Miarelli Mariani, Tiziano Casola, Valentina Fraticelli, Vanda Lisanti, laura Palombaro, Campisano Editore, Roma, 2022
[front page only]
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"Lettere d'artista. Per una storia transnazionale dell'arte (XVIII-XIX secolo)", a cura di G. Capitelli, M.P. Donato, C. Mazzarelli, S. Meyer, I. Miarelli Mariani, Silvana, Cinisello Balsamo (MI), 2022
[front page only]
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Il Capitale Culturale, n. 23, 2021
The year 1823 saw the foundation of the British Academy of Arts in Rome, in Via di S. Isidoro, a ... more The year 1823 saw the foundation of the British Academy of Arts in Rome, in Via di S. Isidoro, a stable drawing class, the result of the cooperation between the first English artists who arrived in Rome after the Restoration. With phases of total abandonment and attempts to relaunch, the academy survived for over a century and, progressively accessible to nonBritish too, it was frequented by several great names of the European artistic 19th century.
Following the dispersion of the academic archive in 1946, there have been several attempts to reconstruct the history of the institution, inevitably incomplete and often inaccurate. Thanks to the contribution of new primary sources, this essay aims to provide: a timely chronological reconstruction of the foundation process; an identification of the artists who took part in the first activities; an analysis of the concrete reality of the institution at its dawn. In particular, on the basis of a previously never investigated link between the new academy and the British Institution of London, a new hypothesis will be put forward on the motivations of the notoriously conflicting relationship between Anglo-Roman artists and the Royal Academy, which never wanted to recognize the British Academy of Rome as its branch.
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Roma-Londra: scambi, modelli e temi tra l’Accademia di San Luca e la cultura artistica britannica nei secoli XVIII e XIX, catalogo della mostra (Roma, Accademia Nazionale di San Luca, 2018-2019), a cura di C. Brook , E. Camboni, G. P. Consoni, A. Aymonino, F. Moschini, pp. 94-104, 2020
Breve storia, in senso cronologico, dei viaggi e degli insediamenti di scultori britannici e irla... more Breve storia, in senso cronologico, dei viaggi e degli insediamenti di scultori britannici e irlandesi a Roma, tra la metà del Settecento e l'immediato post-Restaurazione.
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Roma-Londra: scambi, modelli e temi tra l’Accademia di San Luca e la cultura artistica britannica nei secoli XVIII e XIX, catalogo della mostra (Roma, Accademia Nazionale di San Luca, 2018-2019), a cura di C. Brook, E. Camboni, G. P. Consoni, A. Aymonino, F. Moschini, pp. 266-270, 2020
A brief chronological history, of British and Irish sculptors' travels and settlements in Rome, ... more A brief chronological history, of British and Irish sculptors' travels and settlements in Rome, between the mid-18th century and the immediate post-Restoration.
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"Il carteggio d'artista: fonti, questioni, ricerche tra XVII e XIX secolo", a cura di Serenella Rolfi Ožvald e Carla Mazzarelli, Silvana Ed., Cinisello Balsamo (MI), 2019
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"Ricerche di storia dell’arte", n. 125 ("Lettere di artista. Corrispondenze tra Roma e l’Europa dall’età dei Lumi alla Restaurazione"), Carocci Ed., 2018
Riflessioni in margine alla schedatura di 1500 lettere di artisti anglosassoni e tedeschi attivi ... more Riflessioni in margine alla schedatura di 1500 lettere di artisti anglosassoni e tedeschi attivi a Roma tra il 1750 e il 1825, finalizzata al censimento delle corrispondenze d’artista da e per Roma nell’ambito del progetto di ricerca 'Lettres d’artiste'.
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"MDCCC 1800", n. 7 (luglio 2018), Ed. Ca' Foscari, Venezia, 2018
Charles Heathcote Tatham and Joseph Gandy played important roles in early Nineteenth century Brit... more Charles Heathcote Tatham and Joseph Gandy played important roles in early Nineteenth century British artistic world:
Tatham for his contribution to the development of applied arts, Gandy for being John Soane’s projects graphic executor, as well as
a truly eclectic artist, hard to classify in traditional canons. Apparently disconnected and distant from each other, the two architects
shared the experience of the trip to Rome, which took place simultaneously in the years 1794-1796, but if they boarded the same ship,
they also moved in two diametrically opposite directions once arrived in Rome. The letters sent home by the two young artists confirm
this, telling two completely dissimilar experiences of the same Rome and the Ancient. After returning home, between 1800 and 1806,
both architects published some illustrated publications strongly linked to the recent trip. In both cases they are architectural model
albums: two series of ’didactic’ engravings by Tatham, and two pattern books for rural buildings by Gandy. They are two extremely
different editorial cases, but both based on the ’re-use’ of the Italian experiences of the authors and their personal interpretation of
their time’s cult of antiquity
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Events, conferences, seminars, talks by Tiziano Casola
terrà una giornata di studi dedicata alla stampa di traduzione e storia dell'arte. Se gli studi s... more terrà una giornata di studi dedicata alla stampa di traduzione e storia dell'arte. Se gli studi sugli artisti incisori e lo sviluppo di un mercato di stampe europeo vivace e ben delineato hanno visto un crescente interesse negli ultimi anni per i secoli XVII-XVIII e XIX, l'indagine rimane ancora aperta per la stampa di traduzione utilizzata a corredo della storiografia artistica di quei secoli. Partendo dall'affermazione dell'incisione di traduzione a contorno semplice nel Dizionario di Belle Arti del Disegno di Francesco Milizia (1797), la giornata di studi si propone di presentare nuove ricerche sull'utilizzo delle incisioni e delle stampe per lo studio della storia dell'arte, esplorando le tematiche seguenti pur non limitandosi solo ad esse, anzi auspicandone un ampliamento sia in termini geografici che cronologici:-singoli contributi su artisti, disegnatori e incisori-singoli contributi su album o raccolte di stampe ed incisioni-il mercato delle stampe di traduzione e dei libri d'arte illustrati: stamperie, librai, mercanti e collezionisti-stampa di traduzione e studio dell'arte: trattati, cataloghi, recueils, quotidiani a stampa, riviste d'arte, descrizioni, letteratura periegetica illustrata-illustrare per promuovere: i cataloghi di vendita delle collezioni-nascita e sviluppo delle monografie d'artista illustrate-stampa di traduzione per la storia della letteratura Le proposte di partecipazione alla giornata di studi dovranno pervenire all'indirizzo valentina.fraticelli@unich.it in forma di abstract (350-500 parole-con titolo e parole chiave), ed essere accompagnate da CV e affiliazione accademica o breve profilo biografico (300 parole) entro il 25/01/2021. Le giornate di studio si svolgeranno sulla piattaforma Microsoft Teams; gli interventi selezionati, di cui è prevista la pubblicazione, avranno una durata di circa 20-30 minuti e verranno presentati online. Per ulteriori informazioni contattare la dott.ssa Valentina
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Catalogue entries by Tiziano Casola
"Grand Tour - Sogno d'Italia da Venezia a Pompei", catalogo della mostra (Milano, Gallerie d'Italia), a cura di F. Mazzocca, S. Grandesso, F. Leone, pp. 169, 330, 2021
Christopher Hewetson, busto ritratto di Gavin Hamilton, 1784, marmo, Marseille, Musée des Beaux-A... more Christopher Hewetson, busto ritratto di Gavin Hamilton, 1784, marmo, Marseille, Musée des Beaux-Arts, Palais Longchamp, legato Maximin Spitzer, inv. C 1657. Scheda dell'opera.
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"Grand Tour - Sogno d'Italia da Venezia a Pompei", catalogo della mostra (Milano, Gallerie d'Italia), a cura di F. Mazzocca, S. Grandesso, F. Leone, pp. 166, 329, 2021
Christopher Hewetson, busto di Anton Raphael Mengs, 1781, marmo, Roma, Musei Capitolini, Protomot... more Christopher Hewetson, busto di Anton Raphael Mengs, 1781, marmo, Roma, Musei Capitolini, Protomoteca Capitolina (cat. VI.5). Scheda dell'opera.
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Roma-Londra: scambi, modelli e temi tra l’Accademia di San Luca e la cultura artistica britannica nei secoli XVIII e XIX, catalogo della mostra (Roma, Accademia Nazionale di San Luca, 2018-2019), a cura di C. Brook, E. Camboni, G. P. Consoni, A. Aymonino, F. Moschini, pp. 186-187, cat. 3, 2020
Scheda di catalogo / Catlogue entry of R. Westmacott's terracotta at the Accademia di San Luca, i... more Scheda di catalogo / Catlogue entry of R. Westmacott's terracotta at the Accademia di San Luca, in which a self-portrait of the sculptor is recognized.
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Roma-Londra: scambi, modelli e temi tra l’Accademia di San Luca e la cultura artistica britannica nei secoli XVIII e XIX, catalogo della mostra (Roma, Accademia Nazionale di San Luca, 2018-2019), a cura di C. Brook, E. Camboni, G. P. Consoni, A. Aymonino, F. Moschini, pp. 214-215, 2020
Scheda di catalogo / Catalogue entry
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Papers by Tiziano Casola
The figure of the sculptor John Deare (1759-1798) – originally from Liverpool, but active in Rome until his death in the last quarter of the 18th century – has been progressively rediscovered by scholars in the last twenty years. New sources make it possible not only to confirm the idea of his leading role in the pre-Napoleonic Roman scene, but also to highlight his complexity within the artistic system of his time, thus defining a more precise profile of the sculptor. In particular, a new correspondence highlights Deare’s relations with anti-British circles (the commissioning of pro-French Irish military aristocracies), an issue that led to recurring mentions of him in the sources of the time as a “no longer English” artist, a question to which the studies so far compiled do not seem to have given due weight. In addition, an analysis of Deare’s biography and social networks makes it possible to reflect on his role within the Anglo-
Roman colony, as well as the nature of his critical fortune, while new drawings and documents provide insight into the composition and working methods of the sculptor’s workshop.
Isada by Charles lock Eastlake and the Anglo-Roman Painting
around the year 1827 · Studies about Charles Lock Eastlake’s
pictorial activity have always taken a back seat to the
roles he held in English cultural institutions. Yet, the works
and events related to Eastlake’s Roman painting production
– in particular around the year 1827 – provides a unique
insight into the activities of the new group of British
painters who settled in Rome after the end of the Napoleonic
wars. What emerges is a unanimous ambition to a
‘large scale’ history painting, devoted to a confrontation
with Europe and to the rejection of the cult of English isolationism,
as well as a common path of voluntary sharing
of working spaces, collective practice and the creative
phase of the works. An inclination facilitated by the founding
of the British Academy of Arts in Rome in 1823 and in
tune with other artistic communities in Rome at the time.
This essay analyses Eastlake’s production of history paintings
in Rome and compare it with that of his Anglo-Roman
contemporaries (especially Joseph Severn and John Bryant
Lane), highlighting the figurative and sense connections
between the various works.
Following the dispersion of the academic archive in 1946, there have been several attempts to reconstruct the history of the institution, inevitably incomplete and often inaccurate. Thanks to the contribution of new primary sources, this essay aims to provide: a timely chronological reconstruction of the foundation process; an identification of the artists who took part in the first activities; an analysis of the concrete reality of the institution at its dawn. In particular, on the basis of a previously never investigated link between the new academy and the British Institution of London, a new hypothesis will be put forward on the motivations of the notoriously conflicting relationship between Anglo-Roman artists and the Royal Academy, which never wanted to recognize the British Academy of Rome as its branch.
Tatham for his contribution to the development of applied arts, Gandy for being John Soane’s projects graphic executor, as well as
a truly eclectic artist, hard to classify in traditional canons. Apparently disconnected and distant from each other, the two architects
shared the experience of the trip to Rome, which took place simultaneously in the years 1794-1796, but if they boarded the same ship,
they also moved in two diametrically opposite directions once arrived in Rome. The letters sent home by the two young artists confirm
this, telling two completely dissimilar experiences of the same Rome and the Ancient. After returning home, between 1800 and 1806,
both architects published some illustrated publications strongly linked to the recent trip. In both cases they are architectural model
albums: two series of ’didactic’ engravings by Tatham, and two pattern books for rural buildings by Gandy. They are two extremely
different editorial cases, but both based on the ’re-use’ of the Italian experiences of the authors and their personal interpretation of
their time’s cult of antiquity
Events, conferences, seminars, talks by Tiziano Casola
Catalogue entries by Tiziano Casola
The figure of the sculptor John Deare (1759-1798) – originally from Liverpool, but active in Rome until his death in the last quarter of the 18th century – has been progressively rediscovered by scholars in the last twenty years. New sources make it possible not only to confirm the idea of his leading role in the pre-Napoleonic Roman scene, but also to highlight his complexity within the artistic system of his time, thus defining a more precise profile of the sculptor. In particular, a new correspondence highlights Deare’s relations with anti-British circles (the commissioning of pro-French Irish military aristocracies), an issue that led to recurring mentions of him in the sources of the time as a “no longer English” artist, a question to which the studies so far compiled do not seem to have given due weight. In addition, an analysis of Deare’s biography and social networks makes it possible to reflect on his role within the Anglo-
Roman colony, as well as the nature of his critical fortune, while new drawings and documents provide insight into the composition and working methods of the sculptor’s workshop.
Isada by Charles lock Eastlake and the Anglo-Roman Painting
around the year 1827 · Studies about Charles Lock Eastlake’s
pictorial activity have always taken a back seat to the
roles he held in English cultural institutions. Yet, the works
and events related to Eastlake’s Roman painting production
– in particular around the year 1827 – provides a unique
insight into the activities of the new group of British
painters who settled in Rome after the end of the Napoleonic
wars. What emerges is a unanimous ambition to a
‘large scale’ history painting, devoted to a confrontation
with Europe and to the rejection of the cult of English isolationism,
as well as a common path of voluntary sharing
of working spaces, collective practice and the creative
phase of the works. An inclination facilitated by the founding
of the British Academy of Arts in Rome in 1823 and in
tune with other artistic communities in Rome at the time.
This essay analyses Eastlake’s production of history paintings
in Rome and compare it with that of his Anglo-Roman
contemporaries (especially Joseph Severn and John Bryant
Lane), highlighting the figurative and sense connections
between the various works.
Following the dispersion of the academic archive in 1946, there have been several attempts to reconstruct the history of the institution, inevitably incomplete and often inaccurate. Thanks to the contribution of new primary sources, this essay aims to provide: a timely chronological reconstruction of the foundation process; an identification of the artists who took part in the first activities; an analysis of the concrete reality of the institution at its dawn. In particular, on the basis of a previously never investigated link between the new academy and the British Institution of London, a new hypothesis will be put forward on the motivations of the notoriously conflicting relationship between Anglo-Roman artists and the Royal Academy, which never wanted to recognize the British Academy of Rome as its branch.
Tatham for his contribution to the development of applied arts, Gandy for being John Soane’s projects graphic executor, as well as
a truly eclectic artist, hard to classify in traditional canons. Apparently disconnected and distant from each other, the two architects
shared the experience of the trip to Rome, which took place simultaneously in the years 1794-1796, but if they boarded the same ship,
they also moved in two diametrically opposite directions once arrived in Rome. The letters sent home by the two young artists confirm
this, telling two completely dissimilar experiences of the same Rome and the Ancient. After returning home, between 1800 and 1806,
both architects published some illustrated publications strongly linked to the recent trip. In both cases they are architectural model
albums: two series of ’didactic’ engravings by Tatham, and two pattern books for rural buildings by Gandy. They are two extremely
different editorial cases, but both based on the ’re-use’ of the Italian experiences of the authors and their personal interpretation of
their time’s cult of antiquity