Modern Residences of Artists as the Subject and Space of Creation
Chapter 6:. A museum, a mausoleum, a reliquary of art, a temple of the artist
187 Chapter 6: A museum, a mausoleum, a reliquary of art, a temple of the artist The ceremonial public viewing of the body of the sculptor Vincenzo Vela in the centre of the grand hall of his house in Ligornetto, and the “coat of arms” composed of painting utensils hanging above the entrance to Jan Matejko’s neo- Renaissance house in Cracow (Fig. 119 and 120), as if inspired by Federico Zuc- cari in Florence, are two different yet equally characteristic symptoms of the transformation of the house of an artist into an object of cult433. These symptoms border on the grotesque, as do many other manifestations of the exaggerated Romantic ennoblement of art and its creators. This chapter attempts to trace the various forms of the sacralisation of an artist’s residence/place which could be observed in the 19th century. The earliest concepts of transforming the house of an artist into a museum or of instituting a museum that would be a tribute to a given creator appeared only a decade after the inception of ordinary museums of art in their mature form (the Louvre in Paris and the Museo Pio-Clementino in the Vatican are model examples of this category). Such sacralisation has a distinct and well-known forerunner in the early modern period: Casa Buonarroti in Florence, which was turned into a monument to Michelangelo not long after his death.434 It was not an “artist’s house” in the modern definition of the term, yet because the building had been in Michelangelo’s...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.