Gennaro Calì’s Pietà and Some Notes on Neapolitan Sculpture in the First Half of the 19th Century Two sculptures planned by Antonio Canova but never sculpted in marble, Religione and Pietà, became models repli-cated by later artists. Two sculptures done for the cemetery in Poggioreale respectively by Gennaro Calì – Pietà – and Tito Angelini – Religione e angeli oranti (Religion and Praying Angels) – are among the most interesting examples of the popularity of the two incompleted works of the great Venetian sculptor. But the interconnections, influences, and ex-changes with other sculptors of the time mark out a complex network of relationships between Naples, Florence, and Rome, especially lively in Naples, which was a melting-pot that continued to nourish creative exchange thanks also to the presence and activities there of many artists from outside the kingdom – suffice it to mention Pietro Tenerani, Carlo Finelli and Cincinnato Baruzzi. It was a network that reached not only Italian patrons but also customers in Russia – to cite a sole example, Calì’s Psiche abbandonata (Psyche Abandoned) now in the Hermitage – and in other foreign countries, attracted by the possibility for multiple copies of statuary to be made without lessening its artistic value, on the contrary stimulating a lively collectors’ market.
L’onda lunga di Canova: la Pietà di Gennaro Calì e qualche nota sulla fortuna internazionale degli scultori napoletani nella prima metà dell’Ottocento
Di Benedetto, Almerinda
2019
Abstract
Gennaro Calì’s Pietà and Some Notes on Neapolitan Sculpture in the First Half of the 19th Century Two sculptures planned by Antonio Canova but never sculpted in marble, Religione and Pietà, became models repli-cated by later artists. Two sculptures done for the cemetery in Poggioreale respectively by Gennaro Calì – Pietà – and Tito Angelini – Religione e angeli oranti (Religion and Praying Angels) – are among the most interesting examples of the popularity of the two incompleted works of the great Venetian sculptor. But the interconnections, influences, and ex-changes with other sculptors of the time mark out a complex network of relationships between Naples, Florence, and Rome, especially lively in Naples, which was a melting-pot that continued to nourish creative exchange thanks also to the presence and activities there of many artists from outside the kingdom – suffice it to mention Pietro Tenerani, Carlo Finelli and Cincinnato Baruzzi. It was a network that reached not only Italian patrons but also customers in Russia – to cite a sole example, Calì’s Psiche abbandonata (Psyche Abandoned) now in the Hermitage – and in other foreign countries, attracted by the possibility for multiple copies of statuary to be made without lessening its artistic value, on the contrary stimulating a lively collectors’ market.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
