Da Parigi a Torino

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DC Field	Value
dc.identifier	ECF_article_8316
dc.title	Da Parigi a Torino. Roberto d’Azeglio, la destinazione pubblica delle belle arti e la Reale Galleria
dc.contributor.author	Failla Maria Beatrice
dc.publisher	Edizioni Ca’ Foscari - Venice University Press, Fondazione Università Ca’ Foscari
dc.type	Research Article
dc.language.iso	it
dc.identifier.uri	http://edizionicafoscari.it/en/edizioni4/riviste/mdccc-1800/2022/1/da-parigi-a-torino/
dc.description.abstract	The aim of this paper is to investigate the events connected with the establishment of the Reale Galleria di Torino as a public museum in 1832 in relation to the training path of its first director, Roberto d'Azeglio, who was in voluntary exile in Paris, where he came into contact with artists from the entourage of David's pupils in the 1920s. The function of the museum for d'Azeglio is the same as that identified by Quatrémere de Quincy: an institution of high civic value strongly linked to the present. Contemporary art and ancient art can thus establish a close dialogue to consolidate the ethical and civic involvement of visitors.
dc.relation.ispartof	MDCCC 1800
dc.relation.ispartof	Vol. 11 \| July 2022
dc.issued	2022-09-26
dc.dateAccepted	2022-06-01
dc.dateSubmitted	2022-03-07
dc.identifier.issn
dc.identifier.eissn	2280-8841
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
dc.identifier.doi	10.30687/MDCCC/2280-8841/2022/11/011
dc.peer-review	yes
dc.subject	Civil function of the museum
dc.subject	Parisian Salons
dc.subject	Royal Gallery of Turin
dc.subject	Training of artists

Research Article
open access peer reviewed

Da Parigi a Torino

Roberto d’Azeglio, la destinazione pubblica delle belle arti e la Reale Galleria

Maria Beatrice Failla Università degli Studi di Torino, Italia

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abstract

The aim of this paper is to investigate the events connected with the establishment of the Reale Galleria di Torino as a public museum in 1832 in relation to the training path of its first director, Roberto d'Azeglio, who was in voluntary exile in Paris, where he came into contact with artists from the entourage of David's pupils in the 1920s. The function of the museum for d'Azeglio is the same as that identified by Quatrémere de Quincy: an institution of high civic value strongly linked to the present. Contemporary art and ancient art can thus establish a close dialogue to consolidate the ethical and civic involvement of visitors.

Published

Sept. 26, 2022

Accepted

June 1, 2022

Submitted

March 7, 2022

Language

Keywords: Civil function of the museum • Parisian Salons • Training of artists • Royal Gallery of Turin

permalink http://doi.org/10.30687/MDCCC/2280-8841/2022/11/011

Copyright: © 2022 Maria Beatrice Failla. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

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