Neville Rowley – författare

Der Grundstein für eine öffentliche Kunstsammlung von Weltrang in Berlin wurde 82 gelegt: Damals erwarb der preußische Staat für das zu gründende Berliner Museum die Gemäldesammlung des Kaufmanns Edward Solly ( 77 - 844). Dieser kosmopolitische Kunstfreund brachte in Berlin zwischen 8 5 und 82 Tausende Gemälde vor allem aus Italien, Deutschland und den Niederlanden zusammen, viele stammten von bis dahin kaum bekannten, seitdem und bis heute aber hochgeschätzten Künstlern. Die Ausstellung und der begleitende Katalog stellen Meisterwerke, Wiederentdeckungen und „historische Merkwürdigkeiten" in einem repräsentativen Querschnitt vor und eröffnen den Blick in eine Zeit, die einerseits unsere Vorstellungen von Kunst und Museen prägte, andererseits doch so ganz anders auf die Werke blickte, als wir es heute tun. Detaillierte Einblicke in die Geschichte der Berliner Gemäldegalerie Ausstellung: Gemäldegalerie, Berlin, 2 22 Künstler u. a.: Wilhelm Hensel, Meister der Dossali Veneziani, Puccio di Simone, Giotto, Meister des San Niccolò-Altares, Domenico und Davide Ghirlandaio, Raffael, Girolamo Figino, Johannes Hispanus, Girolamo Romanino, Giovanni Battista Benvenuti, Goossen van der Weyden, Hans Holbein der Jüngere, Hans Maler, Ambrosius Benson, Jan Gossart, Rembrandt, Cornelis Cornelisz van Haarlem, Gian Domenico Cerrini

The foundations for a world-class public art collection in Berlin were laid in 1821: This was the year the Kingdom of Prussia acquired on behalf of the museum to be established in Berlin the painting collection of English merchant Edward Solly (1776-1844). Between 1815 and 1820 this cosmopolitan lover of the arts living in Berlin amassed thousands of paintings above all from Italy, Germany and the Netherlands. Many of the works were by artists little known at the time but who subsequently came to be greatly appreciated and are still renowned today. The exhibition and the accompanying catalogue showcase a representative selection of masterpieces, rediscoveries, and "historical peculiarities", and provide an insight into an age that on the one hand shaped our concepts of art and museums and on the other hand had an entirely different view of the works than we have today. Detailed insights into the history of the Berlin Gemäldegalerie Exhibition: Gemäldegalerie, Berlin, 2022 Artists i.e.: Wilhelm Hensel, Meister der Dossali Veneziani, Puccio di Simone, Giotto, Meister des San Niccolò-Altares, Domenico und Davide Ghirlandaio, Raffael, Girolamo Figino, Johannes Hispanus, Girolamo Romanino, Giovanni Battista Benvenuti, Goossen van der Weyden, Hans Holbein der Jüngere, Hans Maler, Ambrosius Benson, Jan Gossart, Rembrandt, Cornelis Cornelisz van Haarlem, Gian Domenico Cerrini

The baptismal font in the Baptistery of San Giovanni in Siena is a masterpiece of the Italian Renaissance. It was created between 1416 and 1434 by six sculptors, including Donatello. His putto was once part of the baptistery, but had been missing in Siena for centuries before it was acquired by Wilhelm Bode for the sculpture collection in 1902. It was Bode who initiated the moulding of over a hundred Renaissance sculptures in Italy around 25 years earlier. Since then, the Sculpture Collection has had a collection of casts, which has now been forgotten, while the historical moulds and models are still in use in the plaster moulding shop to this day. In photographs by Fabian Fröhlich and five text contributions by Aurelia Badde, Eckart Marchand, Ricardo Mendonça, Neville Rowley and Veronika Tocha, the plaster model of the baptismal font is comprehensively honoured and further contextualised in this book. Not only does it trace the journey of discovery during the restoration of the model, it also reconstructs the historical context of the original mould of the baptismal font and its history of reproduction. The putto is embedded in the history of art and collecting and the significance of plaster casts is traced back to the time of Donatello. Text: Bilingual German and English

Giovanni Bellini, 'one of the great Italian poets' in the words of Roberto Longhi, and Andrea Mantegna, he who 'sculpted [the image] alive and real in his painting' in the sonnet by Ulisse degli Aleotti, were two giants in the history of Western art - extremely distant in character, certainly, yet connected by deep family ties. Nicolosia - Jacopo Bellini's daughter and thus half-sister to Giovanni - married Mantegna in 1453. This marriage engendered one of the most fascinating pictorial dialogues of the Quattrocento, as they both developed the motif of The Presentation of Jesus at the Temple. Now we see this pair of works exhibited side-by-side for the very first time, half a millennium after they were painted. This volume narrates an extraordinary event, down to the last detail, through a riveting analysis of the paintings themselves and of the relationship between the two artists.