Barbara Furlotti

Linda Wolk-Simon

Guido Rebecchini

Palazzo Te torna a celebrare, a distanza di trent'anni dalla grande monografica del 1989, il genio di Giulio Romano. L'esposizione, allestita nelle Sale Napoleoniche, indaga la relazione tra immagini erotiche del mondo classico e invenzioni figurative prodotte nella prima metà del Cinquecento in Italia, esponendo dipinti, disegni e oggetti preziosi provenienti da venti istituzioni, tra cui il Metropolitan Museum of Art di New York e l'Ermitage di San Pietroburgo. Concentrandosi sul lavoro di Giulio Romano, il percorso espositivo evidenzia la capillare diffusione di un vasto repertorio di rappresentazioni erotiche nella cultura artistica cinquecentesca e svela le influenze esistenti tra cultura alta e cultura bassa nella produzione di tali immagini. Exhibition: Palazzo Te, Mantova, Italy (06.10.2019-06.01.2020).

Art and Desire

Giulio Romano

This book explores the subject of baronial identity and material culture in sixteenth-century Rome by focusing on the Duke of Bracciano, Paolo Giordano I Orsini, his court, and his possessions. It is an investigation into the way in which a Roman baron constructed and disseminated his sense of self through the objects he owned, the events he organized, and the relationships he forged by means of material goods and works of art. The analysis of the use of artistic and luxury goods in the form of pawns, rentals, loans, gifts, and thefts shows how aristocratic patrimonies were subject to continual mobility and served a multiplicity of goals. Supported by a wealth of documentation, mostly unpublished, including inventories, correspondence and account books, this study provides a new dynamic insight into a Renaissance aristocratic court.

Paolo Giordano I Orsini, Duke of Bracciano (1541-1585)

A Renaissance Baron and His Possessions

Paolo Giordano I Orsini and His Possessions, (1541-1585).

Consumption and Baronial Identity in Sixteenth-Century Rome

An exciting new approach to understand the trade of antiquities in early modern Rome traces the journey of objects from discovery to display. Barbara Furlotti presents a dynamic interpretation of the early modern market for antiquities, relying on the innovative notion of archaeological finds as mobile items. She reconstructs the journey of ancient objects from digging sites to venues where they were sold, such as Roman marketplaces and antiquarians’ storage spaces; to sculptors’ workshops, where they were restored; and to Italian and other European collections, where they arrived after complicated and costly travel over land and sea. She shifts the attention away from collectors to peasants with shovels, dealers and middlemen, and restorers who unearthed, cleaned up, and repaired or remade objects, recuperating the role these actors played in Rome’s socioeconomic structure. Furlotti also examines the changes in economic value, meaning, and appearance that antiquities underwent as they moved trhoughout their journeys and as they reached the locations in which they were displayed. Drawing on vast unpublished archival material, she offers answers to novel questions: How were antiquities excavated? How and where were they traded? How were laws about the ownership of ancient finds made, followed, and evaded?

Barbara Furlotti

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