Before the first purpose-designed exhibition spaces and painting exhibitions emerged, showing art was mainly related to the habit of dressing up spaces for political commemorations, religious festivals, and marketing strategies. Palaces, cloisters, façades, squares, and shops became temporary and privileged venues for art display, where sociability was performed, and the idea of exhibition developed. >cite>What were those places and events? What aesthetic, cultural, social and political discourses intersected with the early idea of exhibition space? How did displaying art shape a new vocabulary within these events, and conversely, how have these occasions conditioned exhibiting practices? This book traces the origins of the exhibition space by studying its visual and written imagery in the early modern period. It reconsiders events and habits that contributed to shaping the imagery of the exhibition space, and to defining exhibition-making practices, exploring micro-histories and long-term changes.
- Cover
- Table of Contents
- Acknowledgements
- 1. Introduction
- 1.1 Reasons for the Research
- 1.2 Topics, Frames and Methodology
- 2. Main Topics
- 2.1 The Topoi of the Exhibition Space
- 2.2 From the Act of Showing to the Idea of Exhibiting
- 2.3 Depicting (Exhibition) Spaces
- 2.4 Early Exhibition Design Precepts and Treatises
- 3. (Domestic) Interiors
- 3.1 Dressing Up Environments: From Representative Spaces to Exhibition Rooms
- 3.2 Aesthetic Promenades in Italian Noble Palaces
- 3.3 Dutch and Venetian Burghers’ Dwellings
- 3.4 A Proper Place for Artefacts
- 3.5 Setting Up the Collections
- 3.6 Directing the Viewers’ Gaze
- *Spaces in Between
- *Ubi Papa, Ibi Roma: Furniture and Display Apparatus
- 4. (Public) Exteriors
- 4.1 Gardens, Outer Loggias and Inner Galleries
- 4.2 The City: A Stage to Display Ceremonies
- 4.3 Religious Spaces for Early Exhibitions
- 4.4 Transitional Spaces for Exhibition Fairs in Florence and Venice
- 4.5 Other Venues of Exhibiting: Italian Botteghe and Northern Panden
- 4.6 Alternative Exhibition Spaces: Eighteenth-Century Paris
- 5. Conclusion
- 5.1 The Psychology of the Display
- Bibliography
- Index
- List of Illustrations
- Figure 1 Filippo Vasconi (Italian, Rome 1687 – 1730 Rome), Cortile del Palazzo Altemps (1729), etching, 45.6 × 67.3 cm, J. Paul Getty Trust, Getty Research Institute, Special Collections, Los Angeles.
- Figure 2 Anonymous, Dolls’ House of Petronella Oortman (c.1686 – c.1710), furniture, dollhouse, 255 × 190 cm, depth 78 × 28 cm, Rijksmuseum, Amsterdam.
- Figure 3 Johannes Vermeer (Dutch, Delft 1632 – 1675, Delft), A Maid Asleep (1656–1657), oil on canvas, 87.6 × 76.5 cm, Bequest of Benjamin Altman, 1913, The MET Collection, New York.
- Figure 4 Jacob Appel (Dutch, Amsterdam 1680 – 1751 Amsterdam), Dolls’ House of Petronella Oortman (1655/56–1716), painting, 87 × 69 cm, Rijksmuseum, Amsterdam.
- Figure 5 Gerard de Lairesse (Dutch, Liège 1641 – 1711 Amsterdam), Johannes Glauber (Dutch, Utrecht 1646 – 1726 Schoonhoven), Italian Landscape with Three Women in the Foreground (1687), oil on canvas, 282 × 217 cm, Rijksmuseum, Amsterdam.
- Figure 6 Samuel van Hoogstraten (Dutch, Dordrecht 1660 – 1678 Dordrecht), The Anemic Lady (1665), oil on canvas, 69.5 × 55 cm, Rijksmuseum, Amsterdam.
- Figure 7 Jacob Ochtervelt (Dutch, Rotterdam 1634 – 1682 Amsterdam), A Musical Company (1668), oil on canvas, 58.5 × 48.9 cm, Leonard C. Hanna, Jr. Fund, Cleveland Museum of Art, Cleveland.
- Figure 8 Pieter De Hooch (Dutch, Rotterdam 1629 – during or after 1684 Amsterdam), Interior with Women beside a Linen Cupboard (1663), oil on canvas, 70 cm × 75.5 cm, Rijksmuseum, Amsterdam.
- Figure 9 Andries van Buysen (Dutch, active 1698 – 1747 Amsterdam), Visitors in the Natural History Cabinet of Levinus Vincent in Haarlem (1706), etching, 22 × 31.5 cm, Rijksmuseum, Amsterdam.
- Figure 10 Francesco Panini (Italian, Rome 1745 – 1812 Rome), View of the Farnese Gallery, Rome (c.1775), drawing, 42.5 × 27.6 cm, The J. Paul Getty Museum, Los Angeles.
- Figure 11 Willem van Haecht (Flemish, Antwerp 1593 – 1637 Antwerp), Apelles Painting Campaspe (1630), oil on panel, 104.9 × 148.7 cm, Mauritshuis, The Hague.
- Figure 12 Pierre Paul Sevin (French, Tournon-sur-Rhône 1650 – 1710 Tournon-sur-Rhône), Banquet Table with Trionfi and the Arms of Pope Clement IX in the Centre (1668), drawing, 33 × 24.5 cm, Nationalmuseum, Stockholm (Photo: Cecilia Heisser).
- Figure 13 Hendrick van Cleve III (Flemish, Antwerp 1525 – 1589 Antwerp), View of the Vatican Gardens and St Peter’s Basilica (c.1580), oil on canvas, 71.5 × 101 cm, Fondation Custodia, Collection Frits Lugt, Paris.
- Figure 14 Federico Zuccari (Italian, Sant’Angelo in Vado 1540/42 – 1609 Ancona), Taddeo in the Belvedere Court in the Vatican Drawing the Laocoon (1595), drawing, 17.5 × 42.5 cm, The J. Paul Getty Museum, Los Angeles.
- Figure 15 Vincenzo Feoli (Italian, Rome 1760 – 1827 Rome), View of the Courtyard of the Museo Pio-Clementino from “Veduta generale in prospettiva del cortile nel Museo Pio-Clementino” (1790), etching and engraving, 57.9 × 89.9 cm, The MET Collection, New
- Figure 16 Vincenzo Feoli (Italian, Rome 1760 – 1827 Rome), Right Side of the Portico in the Courtyard of the Museo Pio-Clementino from “Veduta generale in prospettiva del cortile nel Museo Pio-Clementino” (1790), etching and engraving, 57.7 × 90.2 cm, The
- Figure 17 Giovanni Battista Falda (Italian, Valduggia 1643 – 1678 Rome), View of the Villa Medici (after 1677), etching, 23.2 × 42.8 cm, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1961, MET, New York.
- Figure 18 Luca Carlevarijs (Italian, Udine 1663 – 1730 Venice), Regatta on the Grand Canal in Honor of Frederick IV, King of Denmark (1711), oil on canvas, 135.3 × 259.7 cm, The J. Paul Getty Museum, Los Angeles.
- Figure 19 Giacomo Guardi (Italian, Venice (?) 1764 – 1835 Venice (?)), Piazza San Marco Decorated for the Festa della Sensa, drawing, 29.5 × 45.6 cm, The MET Collection, New York.
- Figure 20 Luca Carlevarijs (Italian, Udine 1663 – 1730 Venice), Side View of the School of St Roch at Left and View of the Façade of the Church of St Roch, etching, 22 × 31 cm, The MET collection, New York.
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