From Darkness to Light

Rosella Mamoli Zorzi, Katherine Manthorne

Description

From Darkness to Light explores from a variety of angles the subject of museum lighting in exhibition spaces in America, Japan, and Western Europe throughout the nineteenth and twentieth centuries.



Written by an array of international experts, these collected essays gather perspectives from a diverse range of cultural sensibilities. From sensitive discussions of Tintoretto’s unique approach to the play of light and darkness as exhibited in the Scuola Grande di San Rocco in Venice, to the development of museum lighting as part of Japanese artistic self-fashioning, via the story of an epic American painting on tour, museum illumination in the work of Henry James, and lighting alterations at Chatsworth (to name only a few topics) this book is a treasure trove of illuminating contributions.





The collection is at once a refreshing insight for the enthusiastic museum-goer, who is brought to an awareness of the exhibit in its immediate environment, and a wide-ranging scholarly compendium for the professional who seeks to proceed in their academic or curatorial work with a more enlightened sense of the lighted space. 



 

Informations

• Publié par: Open Book Publishers
• Date de parution: 08 avril 2019
• Nombre de lectures: 0
• EAN13: 9781783745524
• Langue: English
• Poids de l'ouvrage: 6 Mo

Extrait

FROM DARKNESS TO LIGHT


From Darkness to Light
Writers in Museums 1798–1898
Edited by Rosella Mamoli Zorzi and Katherine Manthorne






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© Rosella Mamoli Zorzi and Katherine Manthorne. Copyright of individual chapters is maintained by the chapters’ authors.


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Attribution should include the following information: Rosella Mamoli Zorzi and Katherine Manthorne, eds., From Darkness to Light: Writers in Museums 1798–1898 . Cambridge, UK: Open Book Publishers, 2019, https://doi.org/10.11647/OBP.0151
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ISBN Paperback: 978-1-78374-549-4
ISBN Hardback: 978-1-78374-550-0
ISBN Digital (PDF): 978-1-78374-551-7
ISBN Digital ebook (epub): 978-1-78374-552-4
ISBN Digital ebook (mobi): 978-1-78374-553-1
ISBN Digital (XML): 978-1-78374-723-8
DOI: 10.11647/OBP.0151
Cover image: Jacopo Tintoretto, The Adoration of the Magi , Scuola Grande di San Rocco, Venice (graphic elaboration by Pier Giovanni Possamai, The University of Venice, Ca’ Foscari). Cover design: Anna Gatti
All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative), PEFC (Programme for the Endorsement of Forest Certification Schemes) and Forest Stewardship Council® (FSC® certified).


Contents
Acknowledgments
ix
Notes on Contributors
xi
Introduction: From Darkness to Light: Writers in Museums 1798–1898
1
Rosella Mamoli Zorzi and Katherine Manthorne
Part I On Light
7
1.
Tintoretto: An Unexpected Light. Lightnings, Haloes, Embers and Other Glowing Lights.
9
Melania G. Mazzucco
2.
The Artificial Lighting Available to European and American Museums, 1800–1915
25
David E. Nye
Part II On Light at the Scuola Grande di San Rocco and in Venice
41
3.
Tintoretto in San Rocco Between Light and Darkness
43
Maria Agnese Chiari Moretto Wiel
4.
John Ruskin and Henry James in the Enchanting Darkness of the Scuola Grande di San Rocco
53
Rosella Mamoli Zorzi
5.
Light at the Scuola Grande di San Rocco
71
Demetrio Sonaglioni
6.
The Light in the Venice Ducal Palace
79
Camillo Tonini
7.
Latent in Darkness: John Ruskin’s Virtual Guide to the Academy of Fine Arts in Venice
87
Emma Sdegno
8.
Venice, Art and Light in French Literature: 1831–1916
99
Cristina Beltrami
Part III On Light in American Museums
107
9.
One Hundred Gems of Light: The Peale Family Introduces Gaslight to America
109
Burton K. Kummerow
10.
Illuminating the Big Picture: Frederic Church’s Heart of the Andes Viewed by Writers
117
Katherine Manthorne
11.
Italian Genius in American Light: The James Jackson Jarves Collection at Yale
129
Kathleen Lawrence
12.
Shedding Light on the History of Lighting at the Isabella Stewart Gardner Museum
141
Holly Salmon
13.
Seeing Beauty: Light and Design at the Freer Gallery, ca.1923
151
Lee Glazer
Part IV On Light in Museum and Mansions in England, France, and Spain
165
14.
Lighting up the Darkness: The National Gallery, London
167
Sarah Quill
15.
Sir John Soane
177
Helen Dorey
16.
Chatsworth, a Modern English Mansion
189
Marina Coslovi
17.
Daylight and Gold: In the Galleries With Henry James
201
Paula Deitz
18.
Remarks on Illumination in Nineteenth-Century American Travel Writings on Madrid’s Prado Museum
211
Pere Gifra-Adroher
Part V On Light in Italian Museums
221
19.
To Look (and to See) in the Nineteenth Century: At the Uffizi and Elsewhere
223
Cristina Acidini
20.
Ways of Perceiving: The Passionate Pilgrims’ Gaze in Nineteenth-Century Italy
239
Margherita Ciacci
21.
‘In the Quiet Hours and the Deep Dusk, These Things too Recovered Their Advantage’: Henry James on Light in European Museums
261
Joshua Parker
22.
‘Shedding Light on Old Italian Masters’: Timothy Cole’s Series for the Century
271
Page S. Knox
23.
‘Into the Broad Sunlight’: Anne Hampton Brewster’s Chronicle of Gilded Age Rome
285
Adrienne Baxter Bell
Part VI On Light in Museums in Japan
295
24.
In Praise of Shadows: Ernest Fenollosa and the Origins of Japanese Museum Culture
297
Dorsey Kleitz and Sandra Lucore
Postscript
307
25.
Premonitions: Shakespeare to James
309
Sergio Perosa
26.
The Museum on Stage: From Plato’s Myth to Today’s Perception
319
Alberto Pasetti Bombardella
27.
Time and Light
323
Antonio Foscari
Bibliography
333
List of Illustrations
355


Acknowledgments
This book originated in a conference held in Venice at the Scuola Grande di San Rocco and at the Salone da Ballo of the Correr Museum, 27–29 April 2016. It was organized by the Venice Committee of the Società Dante Alighieri together with The Graduate Center, City University of New York. Our thanks go first and foremost to the Guardian Grando of the Scuola Grande di San Rocco, Franco Posocco, for hosting the conference among the marvellous Tintoretto paintings in the Scuola Grande di San Rocco, to the Vicario of the Scuola, Demetrio Sonaglioni, and to the Procuratrice of the Scuola, Maria Agnese Chiari Moretto Wiel; to the President of the Musei Civici di Venezia (MuVe), Mariacristina Gribaudi, and to its Director, Gabriella Belli, for receiving us in the Sala da Ballo of the Correr Museum. We would also like to thank Thomas Callegaro of the Scuola Grande di San Rocco for his help collating the images. The conference would not have been possible without a grant from the Gladys Krieble Delmas Foundation through Save Venice Inc., whose Venice Director, Melissa Conn, also received us at the Rosand Library. We are also grateful to Arch. Ettore Vio, former proto of the Basilica, for an unforgettable visit to the Basilica di San Marco, which we entered in total darkness and then saw in all its golden light. We would also like to thank the Secretary General of the Società Dante Alighieri, Alessandro Masi, for participating to the welcome addresses together with the Guardian Grando, the President and the Director of MuVe, and with the President of the Amici dei Musei, Paolo Trentinaglia de Daverio. Several scholars chaired the different sessions, making them lively with their comments: we would like to thank Gabriella Belli, for her lively introduction to the works; Paola Marini, Director of the Gallerie dell’Accademia; Philip Rylands, Director of the Peggy Guggenheim Collection; Renata Codello, General Secretary for MiBact for the Veneto region; Ileana Chiappini di Sorio, art historian; and Daniela Ciani, Pia Masiero, and Simone Francescato, Americanists of the University of Venice, Ca’ Foscari. We thank for their papers Giovanni Carlo Federico Villa, professor of art history at the University of Bergamo; Andrea Bellieni, Director of the Correr Museum; Gianfranco Pocobene, of the Isabella Stewart Gardner Museum; and Jean Pavans, the most important translator of Henry James in France: for various reasons their papers could not be included in this volume. Finally, we would like to thank Pier Giovanni Possamai, of the University of Venice Ca’ Foscari, for understanding immediately what the conference was about and therefore suggesting the telling image on the cover of this book.
Rosella Mamoli Zorzi and Katherine Mantho rne


Notes on Contributors
Cristina Acidini was born in Florence and is an art historian. Sh