Istituto di Storia dell’Arte – Fondazione Giorgio Cini

    Institute of Art History

    The Institute of Art History promotes meetings and study conferences, whilst preserving a remarkable collection of artworks, particularly drawings, paintings, illustrated manuscripts, and rare books. Additionally, it houses the archives and collections of esteemed art historians specialising in the art of the Veneto region. The Institute is also actively involved in publishing catalogues, book series, and journals, and it organises significant exhibitions of ancient, modern, and contemporary art.

    The Institute of Art History was founded in 1954 through the initiative of Giuseppe Fiocco, following an agreement between the University of Padua and the Fondazione Giorgio Cini. It was established in the tradition of German art history institutes. The Institute was officially introduced at the XVIII International Congress of the History of Art, held in Venice in 1955. From the outset, the development of the book collections began, notably with the acquisition of the Fiocco Library and the Photo Library. In the 1960s, thanks to Vittorio Cini, the Institute’s research was further enriched by a substantial collection of artworks. The Institute houses the Photo Library, which contains an impressive historical photographic archive, and the Library, one of the largest in the art world in terms of volumes. Since 2012, it has also been home to the Glass Study Centre, as well as the collections of Palazzo Cini at San Vio.

    The Institute publishes two Class A scientific journals, recognised by ANVUR. These are Arte Veneta, founded in 1947 under the direction of Rodolfo Pallucchini, and Saggi e Memorie di Storia dell’Arte, which has been publishing contributions on Italian and European art with an interdisciplinary approach since 1957.

    Since 2013, the Institute has been directed by Luca Massimo Barbero.

    721st Cavallino Exhibition Anticipazioni memorative. Anselmi-Costalonga-Fulgenzi-Patelli-Perusini, 1970: proof prints featuring images from the opening.

    The Institute, founded in 1954, promotes and supports research in the field of art history, with a particular focus on the Veneto region. It preserves a remarkable collection of artworks, as well as documentary and photographic archives. The Institute also publishes scientific works and organises exhibitions of ancient, modern, and contemporary art.

    GLASS STUDY CENTRE

    The Glass Study Centre, established in 2012 in partnership with Pentagram Stiftung, is now the most important general archive of Venetian glass. Over the years, it has gathered invaluable documentary collections from the major historical glassworks of Murano. With its two hundred and fifty thousand documents, including drawings, sketches, and executive projects, the Centre is unique in its field. The collection of graphic archives is further complemented by period photographs, correspondence, albums, gold books, and valuable catalogues. Additionally, there are warehouse and shipment registers, patents, and invoices precious materials for reconstructing the history of glassmaking activities.

    PALAZZO CINI

    The Galleria of Palazzo Cini, a refined house-museum in San Vio, Dorsoduro, was reopened in 2014 and hosts exhibitions of ancient and contemporary art. Founded in 1984, it preserves a precious nucleus of the antique art collection of one of the most important collectors of the 20th century in Italy: the entrepreneur and philanthropist Vittorio Cini (1885-1977).

    Institute of Art History

    DIRECTOR
    Luca Massimo Barbero
    CONTACTS

    «Saggi e Memorie di storia dell’arte» 44 (2020

    • Francesca Girelli, Il Maestro delle Virtù di sant’Ansovino: sei nuove statue in Romania e alcune riflessioni su uno scultore del Trecento adriatico

     

    • Lorenzo Principi, Una predella per il Sant’Andrea di Andrea Ferrucci nella cattedrale di Firenze

     

    • Francesco Saracino, Isabella d’Este e il “presepio con santo Zoanne Baptista”

     

    • Antonella Chiodo, Il testamento artistico di Orsola Maddalena Caccia e il ruolo delle sorelle Bottero pittrici nel monastero di Moncalvo

     

    • Simone Guerriero, “Sa temprar col scalpel anco la penna”: per il profilo di Bernardo Falconi

     

    • Gianpasquale Greco, “Assai più credeva egli di sapere di quello che effettivamente sapesse”: Oronzo Malinconico (1661-1709), pittore napoletano
    nella scia di Luca Giordano

     

    • Enrico Noè, Gli altari della demolita chiesa di Santa Lucia

     

    • Antonella Bellin, Elena Catra, Anticipando Ruskin. Considerazioni sulla rivalutazione della Presentazione di Gesù al Tempio di Carpaccio nelle prime decadi dell’Ottocento

     

    • Stefania Portinari, “Oh Venezia!”. Le intermittenze del cuore di Filippo de Pisis e i cieli alati di nuvole

     

    • Ambra Cascone, Un poeta alla Biennale: Attilio Bertolucci a Venezia nel 1948 e le cronache per la “Gazzetta di Parma”

    La “splendida” Venezia di Francesco Morosini 1619-1694: cerimoniali, arti, cultura

    Edited by Matteo Casini, Simone Guerriero and Vincenzo Mancini

    Fondazione Giorgio Cini / Marsilio, Venice 2022

    This book brings together the proceedings of the international conference on Francesco Morosini, known as the Peloponnesian (1619-1694), organ- ised by the Institute of Art History as part of the events promoted by the Committee for the Celebrations of the 400th Anniversary of the Birth of Francesco Morosini and held at the Fondazione Giorgio Cini. An admiral, diplomat and then doge, Morosini was the last of the illustrious patricians who made the Serenissima Republic great. He restored some of its former political influence on the international stage and revived the Venetians’ dream of possessing a maritime empire.

    The book presents the results of the individual papers, arranged ac- cording to the thematic lines addressed during the two days in Venice. Among the topics examined and illustrated by speakers selected from

    «Saggi e Memorie di storia dell’arte» 44 (2020)

    Edited by the Istituto di Storia dell’Arte

     

    • Francesca Girelli, Il Maestro delle Virtù di sant’Ansovino: sei nuove statue in Romania e alcune riflessioni su uno scultore del Trecento adriatico
    • Lorenzo Principi, Una predella per il Sant’Andrea di Andrea Ferrucci nella cattedrale di Firenze
    • Francesco Saracino, Isabella d’Este e il “presepio con santo Zoanne Baptista”
    • Antonella Chiodo, Il testamento artistico di Orsola Maddalena Caccia e il ruolo delle sorelle Bottero pittrici nel monastero di Moncalvo
    • Simone Guerriero, “Sa temprar col scalpel anco la penna”: per il profilo di Bernardo Falconi
    • Gianpasquale Greco, “Assai più credeva egli di sapere di quello che effettivamente sapesse”: Oronzo Malinconico (1661-1709), pittore napoletano nella scia di Luca Giordano
    • Enrico Noè, Gli altari della demolita chiesa di Santa Lucia
    • Antonella Bellin, Elena Catra, Anticipando Ruskin. Considerazioni sullarivalutazione della Presentazione di Gesù al Tempio di Carpaccio nelleprime decadi dell’Ottocento
    • Stefania Portinari, “Oh Venezia!”. Le intermittenze del cuore di Filippode Pisis e i cieli alati di nuvole
    • Ambra Cascone, Un poeta alla Biennale: Attilio Bertolucci a Venezianel 1948 e le cronache per la “Gazzetta di Parma”

    Trésors de Venise. La collection Cini

    In 2021 the Fondazione Giorgio Cini celebrated its seventieth anniversary with a series of events dedicated to its founder, Vittorio Cini. His collections and role as a patron of the arts, a “humanist and philanthropist”, were the subject of the exhibition Trésors de Venise. La Collection Cini (19 November 2021 – 27 March 2022), jointly organised by the Foundation and the Parisien cultural institution Culturespaces at the Hôtel de Cau- mont-Centre d’Art, an 18th-century hôtel particulier in Aix-en-Provence. The exhibition featured a highly varied array of ninety-five works: paintings (including masterpieces from the Palazzo Cini Gallery by artists such as Lippi, Botticelli, Fra Angelico, Piero di Cosimo and Pontormo), sculptures, objets d’art, drawings, prints, miniatures, illuminated manuscripts and illustrated books. The exhibition explored Vittorio Cini’s taste and very diverse interests and influences while reconstructing the social and cultural background to his collecting.

    In essays by Luca Massimo Barbero, Daniela Ferretti, Alessandro Martoni and Maurizio Reberschak, this catalogue published by Hazan charts the stages in his long life and his successful career as an entrepreneur in 20th-century Italy. It then focuses on his role from the 1930s to the 1960s

    Catalogo del fondo Cesare Grassetti della Fondazione Giorgio Cini

    Catalogo del fondo Cesare Grassetti della Fondazione Giorgio Cini

    Edited by D. Danesi and I. Maschietto
    Leo S. Olschki, Florence, 2020

     

    Following on from the Catalogo del fondo librario antico della Fondazione Giorgio Cini compiled by Dennis E. Rhodes and published by Olschki in 2011, the Catalogo del fondo Cesare Grassetti della Fondazione Giorgio Cini has been published in the same series, entitled “Biblio- teca di Bibliografia”. Put together by the Milanese lawyer Cesare Grassetti from the 1950s to the late 1980s, the collection consists of over 830 15th- and 16th-century editions, already included in the library’s electronic catalogue. Working for this printed catalogue, however, enabled the authors to examine the books in greater depth, with a special focus on the data relating to specific copies. The Grassetti Collection fits in well with the Foundation’s “original” collection, enhancing not only the section of Venetian editions (the library has a remarkable group of them), but also the productions from minor printing centres, thus increasing the number of unique exemplars preserved on San Giorgio.

    Saggi e Memorie di Storia dell’Arte

    Founded in 1957 under the direction of Giuseppe Fiocco, Saggi e Memorie di Storia dell’Arte stands as one of the most important scholarly publications in the field of Art History with a historical-critical approach. The journal is distinguished by an interdisciplinary framework that extends beyond the confines of Venetian art, allowing for an in-depth exploration of topics related to Italian and European art.

    The journal is directed by Luca Massimo Barbero and coordinated by the Institute of Art History. It is recognised by ANVUR as a Class A scientific journal for Ancient Sciences, Philological-Literary Studies, and Historical-Artistic Research.
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    [accordion_entry title=”Complete List”]
    Saggi e Memorie di Storia dell’Arte 1 (1957)
    Saggi e Memorie di Storia dell’Arte 2 (1959)

    Saggi e Memorie di Storia dell’Arte 3 (1960)
    Saggi e Memorie di Storia dell’Arte 4 (1965)
    Saggi e Memorie di Storia dell’Arte 5 (1966)
    Saggi e Memorie di Storia dell’Arte 6 (1968)

    Saggi e Memorie di Storia dell’Arte 7 (1970)
    Saggi e Memorie di Storia dell’Arte 8 (1972)
    Saggi e Memorie di Storia dell’Arte 9 (1974)
    Saggi e Memorie di Storia dell’Arte 10 (1976)
    Saggi e Memorie di Storia dell’Arte 11 (1978)

    Saggi e Memorie di Storia dell’Arte 12 (1980)
    Saggi e Memorie di Storia dell’Arte 13 (1982)
    Saggi e Memorie di Storia dell’Arte 14 (1984)
    Saggi e Memorie di Storia dell’Arte 15 (1986)
    Saggi e Memorie di Storia dell’Arte 16 (1988)
    Saggi e Memorie di Storia dell’Arte 17 (1989)

    Saggi e Memorie di Storia dell’Arte 18 (1993)
    Saggi e Memorie di Storia dell’Arte 19 (1995)
    Saggi e Memorie di Storia dell’Arte 20 (1996)
    Saggi e Memorie di Storia dell’Arte 21 (1997)
    Saggi e Memorie di Storia dell’Arte 22 (1998)
    Saggi e Memorie di Storia dell’Arte 23 (1999)

    Saggi e Memorie di Storia dell’Arte 24 (2000)
    Saggi e Memorie di Storia dell’Arte 25 (2001)
    Saggi e Memorie di Storia dell’Arte 26 (2003)
    Saggi e Memorie di Storia dell’Arte 27 (2005)
    Saggi e Memorie di Storia dell’Arte 28 (2004)
    Saggi e Memorie di Storia dell’Arte 29 (2005)
    Saggi e Memorie di Storia dell’Arte 30 (2008)
    Saggi e Memorie di Storia dell’Arte 31 (2009)
    Saggi e Memorie di Storia dell’Arte 32 (2008)

    Saggi e Memorie di Storia dell’Arte 33 (2011)
    Saggi e Memorie di Storia dell’Arte 34 (2012)
    Saggi e Memorie di Storia dell’Arte 35 (2011)
    Saggi e Memorie di Storia dell’Arte 36 (2012)
    Saggi e Memorie di Storia dell’Arte 37 (2013)
    Saggi e Memorie di Storia dell’Arte 38 (2014)
    Saggi e Memorie di Storia dell’Arte 39 (2015)
    Saggi e Memorie di Storia dell’Arte 40 (2016)
    Saggi e Memorie di Storia dell’Arte 41 (2019)
    Saggi e Memorie di Storia dell’Arte 42 (2018)
    Saggi e Memorie di Storia dell’Arte 43 (2020)
    Saggi e Memorie di Storia dell’Arte 44 (2020)
    Saggi e Memorie di Storia dell’Arte 45 (2021)
    Saggi e Memorie di Storia dell’Arte 46 (2022)
    Saggi e Memorie di Storia dell’Arte 47 (2023)
    [/accordion_entry]
    [accordion][/accordion]

    Arte Veneta

    Founded in 1947 under the presidency of Giuseppe Fiocco and the scientific direction of Rodolfo Pallucchini, Arte Veneta stands out as one of the most significant specialist journals in the field of Art History. Published by Electa, Arte Veneta serves as a key reference for historical-artistic studies, contributing to research and the dissemination of knowledge in this area.

    The journal is directed by Luca Massimo Barbero and coordinated by the Institute of Art History. It is recognised by ANVUR as a Class A scientific journal for Ancient History, Philological-Literary, and Historical-Artistic Studies.
    [accordion][/accordion]
    [accordion_entry title=”Complete List”]
    Arte Veneta 30 (1976)
    Arte Veneta 31 (1977)
    Arte Veneta 32 (1978)
    Arte Veneta 33 (1979)

    Arte Veneta 34 (1980)
    Arte Veneta 35 (1981)
    Arte Veneta 36 (1982)
    Arte Veneta 37 (1983)
    Arte Veneta 38 (1984)
    Arte Veneta 39 (1985)
    Arte Veneta 40 (1986)
    Arte Veneta 41 (1987)
    Arte Veneta 42 (1988)

    Arte Veneta 43 (1990)
    Arte Veneta 44 (1993)
    Arte Veneta 45 (1993)
    Arte Veneta 46 (1994)
    Arte Veneta 47 (1995)
    Arte Veneta 48 (1995)
    Arte Veneta 49 (1996)
    Arte Veneta 50 (1997)
    Arte Veneta 51 (1997)
    Arte Veneta 52 (1998)
    Arte Veneta 53 (1998)
    Arte Veneta 54 (1999)
    Arte Veneta 55 (1999)

    Arte Veneta 56 (2000)
    Arte Veneta 57 (2003)
    Arte Veneta 58 (2003)
    Arte Veneta 59 (2003)
    Arte Veneta 60 (2004)
    Arte Veneta 61 (2004)
    Arte Veneta 62 (2005)
    Arte Veneta 63 (2006)
    Arte Veneta 64 (2007)
    Arte Veneta 65 (2008)
    Arte Veneta 66 (2009)

    Arte Veneta 67 (2010)
    Arte Veneta 68 (2011)
    Bibliografia dell’Arte Veneta (2011)
    Arte Veneta 69 (2012)
    Bibliografia dell’arte veneta (2012)
    Arte Veneta 70 (2013)
    Arte Veneta 71 (2014)
    Arte Veneta 72 (2015)
    Arte Veneta 73 (2016)
    Arte Veneta 74 (2016)
    Arte Veneta 75 (2018)
    Arte Veneta 76 (2019)

    Arte Veneta 77 (2020)
    Arte Veneta 78 (2021)
    Arte Veneta 79 (2022)
    Arte Veneta 80 (2023)
    [/accordion_entry]
    [accordion][/accordion]

    Arte Veneta 72 (2015)

    Arte veneta 72 (2015)
    Edited by Istituto di Storia dell’Arte

    Fulvio Zuliani, Il Cristo e gli Evangelisti del ciborio di San Marco

    Silvia D’Ambrosio, La ‘perduta’ tomba del doge Lorenzo Celsi

    Anne Markham Schulz, Shedding light on the Venetian sculptor Pantaleone di Paolo

    Marsel Grosso, Fonti antiche e moderne per la pittura religiosa di Tiziano nel sesto decennio

    Luca Siracusano, Per Francesco Segala “padovano scultore et architettore”

    Martina Lorenzoni, “… e procurò alcuna memoria delle sue mani”. Federico Zuccari e le copie da Paolo Veronese nei taccuini di viaggio

    Massimo Favilla, Ruggero Rugolo, “Basta che la superficie appaghi la vista”: introduzione allo studio dello stucco a Venezia dal barocco al rococò

    Chiara Piva, Le copie a colori delle Varie pitture a’ fresco dei principali maestri veneziani di Anton Maria Zanetti

    Notices

    Francesca Flores d’Arcais, Un “nuovo” pittore per Francesco il Vecchio da Carrara. Qualche nota sugli affreschi della stanza di Luigi il Grande d’Ungheria nel castello di Padova

    Matteo Ceriana, Un nuovo libro su Tullio Lombardo e alcuni ragionamenti sul tema

    David Eskerdijan, A Portrait of a Lady by Bartolomeo Veneto

    Daniele Guernelli, Aggiunte a Cristoforo Cortese e al Maestro della Commissione Donato

    Marco Tagliapietra, La bacchetta del pittore: da poggiamano a reggifirma in alcuni dipinti di scuola veneta

    Stefano Pierguidi, L’Apollo della collezione Mantova Benavides e la fortuna di Raffaello in area veneta

    Stefania Mason, Pittori “foresti” in Croazia: proposte per Paolo Fiammingo, Niccolò Renieri e Hans Rottenhammer

    Giuseppe Sava, Scultori veneziani del Sei e Settecento a Brescia e a Bergamo: Giovanni Comin, Pietro Baratta, Antonio Gai

    Paolo Delorenzi, Giuseppe Garrovi, l’”unico discepolo dei celebri stuccatori Abbondio Stazzio e Carpoforo Mazzetti”

    Archive papers

    Maria Stella Alfonsi, La chiesa delle Terese di Venezia, nuovi documenti

    Massimo Favilla, Ruggero Rugolo, Regesto cronologico-documentario degli stuccatori attivi a Venezia da Andrea Pelli (1652-1725) a Carpoforo Mazzetti Tencalla (1710-1775)

    Debora Tosato, La pittura d’accademia nel Settecento e la decorazione della sala della Nuova Cancelleria nella Scuola Grande di Santa Maria della Carità a Venezia

    ebook Bibliografia dell’arte veneta (2014)

    edited by Paolo Delorenzi (monographs) and Meri Sclosa (periodicals)

    Download Bibliografia

    Studi in onore di Stefano Tumidei

    Studi in onore di Stefano Tumidei
    Edited by Andrea Bacchi and Luca Massimo Barbero
    Fondazione Giorgio Cini/Fondazione Federico Zeri, 2016

    Five years on from the publication of a significant part of the writings of Stefano Tumidei (Forli, 1962 – Bologna, 2008) in his book on painting in Emilia-Romagna (Studi sulla pittura in Emilia e in Romagna. Da Melozzo a Federico Zuccari), the Fondazione Giorgio Cini and the Fondazione Federico Zeri, Bologna, invited the scholar’s colleagues and students to continue an uninterrupted conversation with a friend who had died prematurely.

    Fifty-four writers thus provided original essays and unpublished studies for the production of this book. Many of them explored specific issues, starting from Tumidei’s studies or exchanges with him, always open-minded and full of suggestions. The result is a raft of topics that range from Giotto to Capogrossi, from painting and sculpture to engravings, drawings and photography. The many, disparate subjects reflect the range of interests and enquiries that characterised Stefano Tumidei’s career. In all these diverse research fields, he distinguished himself and became a major reference point.