Academies of Fine Arts

The artistic Anatomy in the School of Fine Arts in Barcelona. The cases of Jeroni Faraudo (1823-1886) and Tiberio Ávila (1843-1932)
This article focuses on the subject of Artistic Anatomy at the Barcelona School of Fine Arts during the second half of the 19th and early 20th centuries, discussing its signification. The connecting thread of this article are Jeroni Faraudo i Condeminas (1823-1886) and Tiberio Ávila Rodríguez (1843-1932), its first two teachers, who remain nowadays practically unknown. The knowledge of their ideas completes the history of contemporary Catalan aesthetics and also contributes to the comprehension of the erosion in the primacy of the use of ancient models in the official artistic teaching in Catalonia.
Key words: Jeroni Faraudo i Condeminas, Tiberio Ávila Rodríguez, Barcelona School of Fine Arts, Academy of Fine Arts of Barcelona, artistic anatomy, artistic pedagogy
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Aquest article se centra en la significació i transcendència de l’assignatura d’Anatomia artística a l’Escola de Belles Arts de Barcelona durant la segona meitat del segle XIX i principis de segle XX. S’empren, com a fil conductor, les figures de
Jeroni Faraudo i Condeminas (1823-1886) i de Tiberio Ávila Rodríguez (1843-1932), els dos primers professors que impartiren la matèria i que romanen, en l’actualitat, pràcticament inèdits. El coneixement de l’ideari de Faraudo i d’Ávila
permet completar el panorama de l’evolució de les idees estètiques a la Catalunya del moment i, alhora, contribueix a la comprensió de l’erosió de la primacia de l’antic en l’aprenentatge oficial de les arts a Catalunya.

The article considers the writings of the sculptor Andreas Schweigl (1735–1812) and the painters Ignaz Chambrez (1758–1842) and Josef Heřman Agapit Gallaš (1756–1840). Around the year 1800, these three Moravian artists recorded their thoughts and insights in a number of texts that variously combined the traditional literary genre of artist's biography with artistic topography, art criticism and a historical interpretation of early Moravian art and culture. Since all three were in some way connected with the new system of art education, the aim of this study is to examine whether and in what way standardized education affected not only their professional careers, but also their thinking. For all three, that thinking was rooted in a historical interpretation of the early art and culture of Moravia. All three discuss the function of art, artistic ideals, and to some extent the concept of the creative genius, as well as reflecting, directly or indirectly, on the theme of decadence as one stage in the cyclical view of history, in line with the paradigm of the age. The author sets out to compare their texts and in general terms show 1) how artists themselves viewed the importance of art education at the end of the 18 th century; 2) how they responded to the changing role of the artist in society; and 3) how they defined artistic ideals and the artist's social purpose. It is the wider implications of these changes in the artist's social status, and in the function of art in Moravia and Central Europe generally, that form the primary focus of this study.

L’analisi degli esercizi di copia dall’antico proposti ai concorrenti dei concorsi di pittura e scultura dell’Accademia di San Luca tra Seicento e Settecento evidenzia come gli indirizzi forniti ai giovani siano cambiati in relazione alla mutazione dello statuto dell’antico come modello per la produzione artistica contemporanea, rivelando il passaggio da un’attenzione per la composizione e per la narrazione, espressa attraverso lo studio dei rilievi, a un’attenzione concentrata sulla singola figura umana, espressa attraverso lo studio delle statue.

CONDITIONS DE CRÉATIONS ET DEVENIRS ARTISTIQUES DE SEPT ARTISTES (FEMMES), JUIVES ET ÉTRANGÈRES EN FRANCE DANS L'IMMÉDIAT APRÈS-GUERRE (1945-1960).
CHAYA SCHWARTZ (1912-2001), LEA NIKEL (1918-2005), HANNA BEN-DOV (1919-2009), GEULA DAGAN (1925-2008), BELLA BRISEL (1929-1982), FELICE PAZNER-MALKIN (1929- ), HANNAH VAN HULST (1933- ).


      Au début du XXe siècle et jusque dans les années 1950, Paris, capitale de l’art, incarna le lieu de la création mondiale. De nombreux artistes et hommes de lettres vinrent se former, créer et se confronter à la capitale française.
Toutefois, la Seconde Guerre mondiale mit un terme à ces voyages artistiques et littéraires de plus ou moins longues durées. En outre, les mesures raciales antisémites prises par l’occupant nazi et la France du Maréchal Pétain s’intensifièrent, empêchant les artistes d’exposer et de vendre.

      Après le conflit mondial, ce fut la découverte de la Shoah et de l’horreur humaine. Dans une logique de reconstruction, l’époque délicate qu’incarna l’après-guerre, fut marquée par l’arrivée d’étrangers. Parmi ceux-ci, sept jeunes femmes artistes venues de la Palestine mandataire, puis du tout jeune État, Israël, et de la Hollande.
Leur fascination pour Paris apparaît ambivalente et paradoxale. D’une part, « la ville Lumière » perdit de son aura avec l’avènement de l’art abstrait et le déplacement de la capitale artistique de Paris à New York. D’autre part, le rôle collaborationniste que la France joua, au début des années 1940, entacha l’image de la capitale internationale des arts. Or, en Palestine, puis en Israël, Gabriel Talpir, avec sa revue Gazith, servit de passerelles entre les artistes juifs de Palestine puis d’Israël, diffusant une image idéalisée des artistes de l’École de Paris et suscitant le désir, chez les premiers, de se rendre à Paris. Puis, au cours des années 1950 et 1960, les relations franco-israéliennes correspondirent à une période d’« âge d’or ».

      Ces sept femmes débarquèrent à Paris dans des conditions socio-économiques, des statuts personnels (célibataire, mariée, divorcée, avec ou sans enfants) et avec des niveaux d’études divers et variés (formations supérieures dans leurs pays d’origine ou à l’étranger ou bien sans) ; sans oublier des réseaux sociaux plus ou moins bien développés - galeristes, photographes, collectionneurs -, qui contribuèrent à la diffusion et à leur reconnaissance. De surcroît, ces femmes s’inscrivent dans une logique complexe ; à savoir une redéfinition sociétale avec d’importants mouvements migratoires en France, leur place en tant que femmes et étrangères avec les évolutions et bouleversements qui rythmèrent le pays, sans oublier leur conception ou l’idée qu’elles se firent de leur carrière artistique et la place qu’elle accordèrent à leur judéité.
Si ces femmes se réunirent autour de nombreux points communs - les lieux de formation, les enseignants, les photographes, les galeristes, les critiques d’art, les cercles de sociabilité comme les cafés - ; il eut cependant des dissemblances sociétales et culturelles (milieu d’origine, niveau de formation, façon de s’exprimer artistiquement, situations personnelles et durée de séjour à Paris).

O istorie completă a Scolii Române din Roma / Accademia di Romania in Roma, din anii infiintarii sub Vasile Parvan, prin deceniile de glorie interbelica, ale razboiului si comunismului, pana in prezentul sovaielnic, scrisa de un colectiv de autori, in frunte cu Veronica Turcus si Mihai Barbulescu.

Il libro dà un primo quadro unitario sulla situazione dell'istruzione d'arte applicata nella seconda metà dell'Ottocento a partire dall'analisi dell'istituzione governativa della Commissione centrale per l'insegnamento artistico industriale che opera dal 1884 al 1908 sotto il Ministero di Agricoltura, Industria e Commercio in accordo con il Ministero della Pubblica Istruzione. La Commissione diretta inizialmente da Baldassarre Odescalchi, promotore del Museo Artistico Industriale di Roma e dal 1893 da Camillo Boito, viene istituita con R. D. del 13 ottobre 1884 (n. 2731 serie 3a) su proposta della Commissione Reale per l'istruzione artistica industriale avviata nel marzo dello stesso anno su modello delle commissioni inglese e francese rispettivamente del 1881 e del 1882. Tra le personalità di spicco che concorrono a individuare temi e strategie di azione in ambito nazionale si menzionano, oltre ai già citati presidenti, Alfredo d'Andrade, Gaetano Filangieri, Felice Barnabei, Alfredo Melani, Giuseppe Sacconi, Primo Levi (L'Italico), ai quali si affiancano per competenze territoriali Guglielmo Stella, Raffaele Ojetti, Raffaele Erculei, Pietro e Filippo Torregiani, Augusto Passaglia, Luigi Cavenaghi, Vincenzo Ragusa e altre figure del campo scolastico (accademico e professionale) e della tutela e conservazione del patrimonio storico artistico. Tra le principali iniziative della Commissione si cita lo studio di "un'opera originale dell'Ornato Italiano" scaturita poi nella pubblicazione del periodico governativo "Arte Italiana decorativa e industriale", la scelta di modelli in gesso e di collezioni speciali per i diversi tipi di ornato, la catalogazione e la valutazione delle pubblicazioni italiane e straniere sui temi del disegno e dell'ornato, la sistematizzazione delle scuole professionali e l'istituzione di sette Scuole Superiori d'arte applicata all'industria localizzate a Torino, Milano, Venezia, Firenze, Roma, Napoli e Palermo

La Academia de Bellas Artes y Escuela de Artes Decorativas e Industriales (ANBA) fue creada gracias a los esfuerzos de la Sociedad Estímulo de Bellas Artes en 1878 y logró ser nacionalizada varios años después en 1905. Hacia 1908, Ernesto de la Cárcova, director que había estado en el cargo desde sus inicios, presentó su renuncia dando lugar a la asunción de Pío Collivadino. En el año del centenario de la revolución de mayo, el nuevo director avanzó con una reforma del plan de estudios. En un momento en que la formación de artistas se encontraba en crecimiento constante, con gran cantidad de alumnos que buscaban estudiar en la Academia, Collivadino consideró fundamental reforzar la enseñanza práctica para garantizar el “pan quotidiano” que posibilitaba el aprendizaje de oficios. Dentro de las modificaciones, el nuevo director valoró una educación de tipo más estricto: ya no había tolerancia con el ingreso fuera de horario, ni siquiera para aquellos que trabajaban hasta la última hora de la tarde. A su vez, hubo gran cantidad de reprobados para esas fechas por no cumplir con los conocimientos mínimos; si bien Collivadino aseguró no tener por objetivo reducir la matrícula de alumnos, aparentemente no estaba dispuesto a ceder sólo por retener a los estudiantes en la institución.
En un contexto de efervescente protesta social, este accionar no pasó desapercibido: numerosos conflictos estudiantiles se llevaron a cabo a modo de reclamo, tanto en función de los reprobados y libres como solicitando la renuncia de algunos profesores. Aún no son claros los métodos que desarrollaron estas respuestas estudiantiles. Asimismo, el artista como tal no era entendido como cualquier trabajador, de modo que el tipo de protesta también daba cuenta de su condición. El objetivo del presente trabajo es indagar a qué tipo de motivaciones respondieron estos conflictos, de qué manera se desarrollaron en el tiempo, qué vínculo existió entre la propuesta educativa del momento y las demandas que desarrollaron los estudiantes y quiénes eran los estudiantes que se movilizaban, teniendo en consideración que en la ANBA participaban jóvenes de diferentes condiciones sociales. En vistas a considerar los distintos actores que formaron parte de este problema, se tendrán en cuenta las fuentes oficiales del Ministerio de Educación e Instrucción pública respecto de las cantidades de reprobados de la Academia y las asignaturas a las que pertenecían. Consideramos que esto nos permitirá contrastar y profundizar las hipótesis de otros autores que proponen que detrás de estas reformas hubo un interés por estimular un modo de enseñanza determinado. A su vez, la prensa del momento permitirá reconstruir y analizar cuál era la mirada pública sobre el accionar de los estudiantes. Por último, se buscará dar cuenta de la postura que tenía el director de la Academia frente a estos eventos y que ha quedado registrada en sus apuntes privados y en trabajos de diferentes autores.

III Encuentro de Jóvenes Investigadores en Arte, CAIA. 12 al 14 de octubre de 2016

This essay traces the history of life classes and the use of artists' models in the Real Academia de Bellas Artes de San Fernando in Madrid and the Imperial Academy of Arts in St. Petersburg, as well as in private studios, placing them in the context of European academic practices as a whole.

In contrast to painters in other countries, the Antwerpian painters, just as those of Bruges, Bruselles and the cities in the norther provinces, did not have to submit a finished piece of work for examination, a masterpiece, beyond the required years as an apprentice in order to finish their apprenticeship. However, it seems to have been normal for artists to show their skills in a finished work at the end of their apprenticeship, or to dedicate a painting to the guild of St Luke that would then hang in the guild house. This text is about these images and the prerequisites necessary for painters belonging to the Antwerp guild of St Luke.

Luis Tramoyeres Blasco (1854-1920) was secretary general of Real Academia de Bellas Artes de San Carlos, director-curator of the Museum of Fine Arts of Valencia and founder of the magazine Archivo de Arte Valenciano (1915). Undoubtedly, the enormous activity and extensive bibliography of Tramoyeres would require a monographic work on his figure. In the absence of it, we could not ignore
the figure of the founder of our magazine on the centenary of his death.
The tribute is carried out illustrating with three examples, and celebrating, with numerous images, to what extent his research and the activity he developed are alive. The examples chosen to present his memory correspond to the Royal Chapel of the old convent of Santo Domingo, the Monuments Catalog of Castellón and the ceiling of the Golden Room of the old Town Hall of the city of Valencia. We believe that these examples summarize, better than long laudatory paragraphs, the insight of the art historian, the tireless work of the scholar and the activity in the defense of the Valencian artistic heritage.

Plantearse la formación de maestros de obras y arquitectos en el siglo xviii es plantearse el valor de la formación práctica a pie de obra, la circulación de modelos y las instituciones reguladoras, sean gremios o academias. En la mayoría de los casos vamos a centrar nuestra atención en maestros de obras itinerantes, en muchos casos ajenos a la estructura gremial, formados en el seno de familias pertenecientes al oficio. Muchas de estas familias de maes-tros de obras inician su trayectoria en Aragón y acaban trasladándose a Valencia o Cataluña. Dependiendo de los casos esa formación en el seno de la familia confluye o evita el encuentro con las academias.

Опыт западных исследований говорит о значительной доли неопределен-ности и риска, присущих творческому труду. Однако распределение ри-сков оказывается связанным со структурными и институциональными факторами: возрастом, гендером, этничностью, социальным классом, конкретной сферой деятельности и т. д. Основным исследовательским вопросом, раскрываемым в данной статье, являются особенности влияния образовательного бэкграунда на развитие креативных карьер. В частности, фокусом статьи являются пути профессионализации мо-лодых художников Санкт-Петербурга, выпускников двух разных типов образовательных институций, концептуализированных как «классиче-ские / модернистские» и «современные». Эмпирическая база исследова-ния — 15 глубинных интервью и 10 сеансов включенного наблюдения. Принадлежа к разным парадигмам визуального искусства, два типа учебных заведений развивают в молодых художниках различные компетенции и навыки, готовя их к соответствующим реалиям профессиональной жизни.

En este texto se aportan datos inéditos sobre la formación artística de escultores españoles en la Academia Julian de París entre 1887-1890.  Entre ellos, se encuentran Anselm Nogués,  Miquel Blay,  Enric Clarassó, Llorenç Roselló, Damià Pradell, Josep María Camps, Carles Mani, Nemesio Mogrobejo, Eusei Arnau, Higinio Basterra y Joaquín Bilbao.

The Florentine Accademia del Disegno (founded in 1563) and the Roman Accademia di San Luca (founded c. 1593) where the first official art academie in Europe. In their early years these institutions performed a variety of functions, which included the organization of funerals and religious feasts, establishing and enforcing rules about the organization of workshops, teaching young painters, sculptors and architects the principles of their arts, and maintaining relationships with potential patrons. By seeing them as crossing points of religious. guild, educational and patronage practices this book presents a multifaceted and comprehensive understanding of these academies. As such it goes beyond previous interpretations, where they were reduced to one of their activities (e.g. patronage). The book also offers the first sustained comparison of the Accademia del Disegno and the Accademia di San Luca. The focus on "social practices" entails the application of insights of theories of practice to a cultural-historical research object. The development of theories of practice, especially those of Pierre Bourdieu and Theodore Schatzki, is the second objective of this study, in addition to improving the understandin of the Accademia del Disegno and the Accademia di San Luca in the early years of their existence.

Artists’ libraries. Apprenticeship, knowledge in the making, artists’ reading in the nineteenth and twentieth centuries

Study day, July 12, 2017

Research on artists’ reading practices in the long nineteenth century intersperses with the narrative of the waning Academic system and the rising literature of manuals targeted to artists, allowing a window on art history sources from the point of view of their producers - and recipients. The issue on artists’ reading practices, already addressed for the early modern period, is barely investigated by modern art history scholarship, besides the more rich amount of documents conserved. This approach not only offers a twofold perspective on artists’ artistic/literary apprenticeship, but can also reveal new and perhaps unexpected information on knowledge processes in this particular category of readers.
The main focus of this study is on the texts, so far mostly considered for the pictures helpful to detect the artist’s creative imagery. Art histories, literary and philosophical-theoretical texts, technical manuals and treatises read and written or edited by artists are not only sources useful to the historian and scholar of Quellengeschichte, but can tell us something more on the Künstlerwissen, on the modes of structuring and ‘disciplining’ culture in this particular sort of reader.
By reconstructing artists’ libraries and their catalogue, by investigating the purchases and loans of the libraries of the Academies of Fine Arts, is it possible to identify a canon, some constants, some repeated requests revealing core interests in the artists-readers?
Which are the peculiarities of these collections of books? Which the selection criteria, and if there are some, can they be confronted to artists’ private art collecting? Or, for the readers’ experimental and curious attitude, to their ‘pre-scientific’ collecting of artefacts and objects belonging to the Wunderkammer sphere?
Can the artist’s knowledge, his education, the way he reads (noting, transcribing), its resulting in new literary forms tell us something new on the artist and his being organic to his culture and time? In what means his reading is different to that of a scholar? What do notes and marginalia on books and copybooks reveal us of an artist-reader’s attitude?
Also, as we can identify in the painter’s studio the typologies of the atelier-salle de travail and the atelier-salon, is there a gap between the library for the everyday use and the library ‘for the show’? Which sort of choices does this distinction reflect?
The artist self-representing himself as a reader not only invites us to consider his changed intellectual status as a socio-cultural and historic phenomenon, but he shows us the texts, gives us hints on his theoretical imagery, and, before the critic takes on this task, draws himself our attention on the value of his metier.
Investigating on the modes, times and practices of the artist’s reading may be a way to get into his mental laboratory, to better understand his theoretical/practical horizon. The dialogue and the shared readings among artists (documented by correspondence, loans, exchanges) can give further hints for not always predictable connections.

Cracolici, Stefano. ‘Uncovering a Common Heritage: Latin American Academies of Fine Arts in the Century of the Independence’. In Why Latin America Matters: A Collection of Essays, edited by Soledad Garcia-Ferrari, Hans Egil Offerdal, and Marta Alicja Kania, 46–62. Edinburgh: Centre for Contemporary Latin American Studies, 2021.

This essay looks into the controversy surrounding a privately-funded MA Programme at the Sandberg Institute called the University of the Underground. It considers how waning governmental support for art academies in the Netherlands has led them to explore new structural solutions. Study programmes such as the University of the Underground, (sponsored by donors such as WeTransfer) appear to offer a way forward. Would they enable the art academy to continue to operate with the greatest possible autonomy in a system increasingly hostile to art education, or, to the contrary, do they only further the agenda of a neo-liberal state?

Commissioned Critique is an ongoing series of essays commissioned by the Sandberg Institute and semi-independently edited by Rosa te Velde and Huib Haye van der Werf. Invited authors reflect on issues specific to artistic MA programmes in general, taking Sandberg as a case study.

mostra a cura di Gerardo de Simone, Luciano Massari
Carrara: Accademia di Belle Arti, Museo Carmi, Palazzo Binelli, Palazzo Cucchiari
date: 9 luglio-10 ottobre 2021
orari: Mar-Dom 9.30-12.30, 16-20 (Carmi 17-20)

Giovanni Antonio Cybei and His Time: an eminent sculptor at the European courts and Priamary Director of the Carrara Academy of Fine Arts.

Exhibition curated by Gerardo de Simone and Luciano Massari.

Carrara 9th July – 10th October 2021

Carrara Academy of Fine Arts, CARMI Museum; Palazzo Binelli, Palazzo Cucchiari

The exhibition – Giovanni Antonio Cybei and His Time: an eminent sculptor at the European courts and Primary Director of the Carrara Academy of Fine Arts – opens on 9th July 2021.

The exhibition is located in four different venues in Carrara – Carrara Academy of Fine Arts, CARMI, Palazzo Binelli, Palazzo Cucchiari – and represents the principal event to celebrate the 250th anniversary of the foundation of the Carrara Academy of Fine Arts (1769 – 2019). It is promoted and organized by the Carrara Academy of Fine Arts, in collaboration with Comune di Carrara, Fondazione Cassa di Risparmio di Carrara, Fondazione Giorgio Conti, with the patronage of the Ministero della Cultura, Ministero dell’Interno, Regione Toscana, Provincia di Massa Carrara, Touring Club Italiano, and with the contribution of the Associazione Amici dell’Accademia di Belle Arti di Carrara and the Carrara Branch of the Dickens Fellowship and of Mondopi Srl.

The exhibition intends to commemorate the first Director of the Academy: the great, though neglected sculptor from Carrara, Giovanni Antonio Cybei (1706-1784), who worked for the most illustrious Italian and European royal houses.

The event has been conceived and curated by Gerardo de Simone, art historian and professor at the Carrara Academy of Fine Arts, and by Luciano Massari, the present Director of the Carrara Academy of Fine Arts. The exhibition is aimed at outlining a detailed portrait of Giovanni Antonio Cybei in order to fill a gap in the history of sculpture between Baroque and Neoclassicism. Among the few exhibitions dedicated to eighteenth-century sculpture before Canova, this one aspires to represent a worthy exception and to set itself as a model for a renewed interest in and promotion of lesser-known artists, contexts, ages and cultures previously unfairly ignored.

The Advisory Board of the exhibition includes the most distinguished international researchers specializing in eighteenth-century sculpture: Sergey Androsov, Andrea Bacchi, Liliana Barroero, Marco Ciampolini, Francesco Freddolini, Andrea Fusani, Volker Krahn, Daniele Sanguineti, Cinzia Maria Sicca, Alison Yarrington.

The exhibition shows the entire span of Cybei’s activity since his apprenticeship at the Baratta’s studio, located in the Carrara quarter of Baluardo, to the last fifteen years of his life when he was appointed director of the new-born Academy of Fine Arts. More than one hundred works (from famous state museums and private collections), including marble statues, plaster and terracotta casts, drawings, prints, volumes and paintings are displayed. In addition to these, lost or immovable works are shown by visual and written means.

The exhibition, mounted by the architects Giuseppe Cannilla and Alberto Giuliani, is located in four appealing historical buildings forming a touring exhibition in the town. The chosen venues are the halls of the CARMI Museum (Museo Carrara e Michelangelo at Villa Fabbricotti), Palazzo Binelli, the seat of Fondazione Cassa di Risparmio di Carrara, Palazzo Cucchiari, the headquarters of Fondazione Giorgio Conti, and a section of Palazzo Cybo Malaspina, location of the Carrara Academy of Fine Arts.

The exhibition is organized in the following venues:

—CARMI Museum: it shows the Baratta’s studio, with masterpieces by Giovanni and his brother Pietro, and the religious and monumental works by Cybei, including the Virgin Immaculate from the City Hospital of Carrara, the St. John the Baptist from the Baptistry in Volterra and the cast for the Fountain of the Putti in Piazza dei Miracoli in Pisa;

—Palazzo Binelli: the exhibition focuses on portrait, an art form Cybei’s mastery was famous for, in particular busts portraying distinguished aristocrats, politicians and scholars (Francesco Del Testa Del Tignoso, Bernardo Tanucci, Ludovico Antonio Muratori, Carlo Sigonio). Finally, a gallery is dedicated to the Duchess Maria Teresa Cybo Malaspina, meritorious founder of the Carrara Academy of Fine Arts;

—Palazzo Cucchiari: one gallery is dedicated to the Grand Duke of Tuscany, Pietro Leopoldo from Lorena, representative of enlightened despotism; another is dedicated to the colossal Monumento equestre del duca Francesco III d’Este in Modena, erected by Cybei in 1774 and destroyed during the revolutionary riots: its preparatory moulds, views, maps, documents and its only surviving fragment are shown here.

—Carrara Academy of Fine Arts: a lecture hall features documents, books and drawings on the first activity of the Academy (including the chirograph deed, volumes, engravings, plasters and documents on Cybei as Director and Professor of Sculpture) and on the Carrara territory, with the famous views of the marble quarries by Saverio Salvioni and two magnificent bird’s-eye view maps of the Apuan coastline, one of which drawn by Filippo del Medico, Supervisor of the School of Architecture in Cybei’s time and designer of the Palazzo Rosso which was commissioned as the seat of the Carrara Academy of Fine Arts and destined to host the rich plaster casts gallery of the university in future years.

Exquisite works by contemporary sculptures and painters are displayed to enable a meaningful comparison with Cybei’s works. (Artists include Jean-Baptiste Boudard, Michelangelo Borghi, Agostino Cornacchini, Domenico Andrea Pelliccia, Francesco Maria Schiaffino, Innocenzo Spinazzi, Pietro Stagi, Corrado Giaquinto, Guido Pignatta, Antonio Consetti, Giuseppe Maria Soli and Domenico De Angelis).

The final part of the touring exhibition includes the visit to Cybei’s works in the Carrara Cathedral, where he served as a chaplain, (the “Lady of Ransom” altar, the Virgin of the Rosary, a polychrome papier-mâché statue and his gravestone), to the mythological bas-reliefs placed in the hall of Palazzo Del Medico Staffetti, and to two works recently attributed to Cybei: the statues of San Francesco and San Bernardino da Siena, located in the Church of San Francesco in Carrara.

Finally, we are grateful for the contribution that the students attending the Carrara Academy of Fine Arts have made to the organization of the event and their important role as guides and assistants in the galleries, and in welcoming the visitors in compliance with the restrictions due to the pandemic.

Exhibition Press Office: Monica Zanfini
Mobile phone: 338 8060156
e-mail address: monicazanfini@gmail.com

Die Kasseler Kunstakademie im späten 18. und frühen 19. Jahrhundert. Eine Studie zur Künstlerausbildung im nationalen und internationalen Vergleich, erschienen in: Quellen und Forschungen zur hessischen Geschichte  ; 184, Darmstadt/Marburg : Hessische Historische Kommission und Historische Kommission für Hessen 2020, IX, 302 S., 48 Abb., ISBN 978-3-88443-339-3.

The National Academy of Arts, founded in 1928 and renamed the Hangzhou National Arts School in 1929, was run by faculty that had for the most part studied in France. Therefore, although the academy’s motto of was “Introduce Western art; systematize Chinese art; harmonize Eastern and Western art; create art of the era,” Chinese art initially played a marginalized role in the curriculum as well as in the school’s various publications. This article takes the academy’s major journal, Apollo, as a lens to discuss how Lin Fengmian, Lin Wenzheng and Pan Tianshou, among other faculty, controversially discussed the history and future of Chinese art. I trace the sources for their readings in Greek mythology, Nietzschean philosophy and various European, American, and Japanese publications on Chinese art, and analyse the Chinese authors’ interpretations thereof.

... Engravers were in fact received into the Academie in their own category in 1655, as long as they did not wander into the domain ... of Intelligence": Leonardo's "Traite" and the Perspective Wars in the Academie royale', in 'I1 se rendit en Italie': Etudes offertes a Andri Chastel (Paris ...

The history of construction and decoration of the Taurida Palace in St. Petersburg, its use until 1924. Unique paintings made in the early 19th century by Ferrari, Giovanni Battista Scotty, a hundred years later were removed from the walls and later transferred to the Academy of Arts museum.

Review of the monograph: K a l u g i na O. Russian Sculpture of the Silver Age. A Journey from St. Petersburg to Moscow. Moscow: BooksMArt, The Research Institute of Theory and History of Fine Arts (Fine Arts Academy of Russia), 2013.
Рецензия на книгу: О. В. Калугина. Русская скульптура Серебряного века. Путешествие из Петербурга в Москву. М.: БуксМАрт. НИИ теории и истории. изобразительных искусств Российской академии художеств, 2013.