Papers by Fernando Filipponi
Champollion. La voie des hiéroglyphes, catalogue d’exposition sous la direction de Vincent Rondot (musée du Louvre-Lens, 28/09/2022 – 16/01/2023), Lens/Paris, Louvre-Lens/Éditions El Viso, 2022, p. 117, n. 78., 2022
R. Durigon, M. Pace (a cura di), Castelli. Scritti in onore di Giovanni Giacomini, pp. 32-35, 2021
L'idea di dedicare alla figura di Giovanni Giacomini una pubblicazione interpreta il desiderio de... more L'idea di dedicare alla figura di Giovanni Giacomini una pubblicazione interpreta il desiderio della comunità scientifica, degli appassionati, dei collezionisti e degli amateurs, di ricordare il ruolo che Giacomini ha avuto per la conoscenza e la valorizzazione della ceramica castellana. Giovanni Giacomini (1933-2021), ceramologo appassionato, storico delle vicende castellane e curatore d'arte, era nato a Castelli, ma già nel corso degli anni '50 si era trasferito a Roma con la famiglia, dove si era dedicato tra le altre attività alla raccolta di ceramiche. Si era avvicinato in tal modo alla pratica della ricerca, alle regole della sua condivisione, alle problematiche relative al restauro, alla valorizzazione e alla tutela dell'arte figulina. Giacomini si era laureato in giurisprudenza alla Sapienza e aveva svolto la professione di dirigente presso la Regione Lazio. Nel 1978 fu insignito del titolo di Cavaliere al merito della Repubblica Italiana. Ma accanto a questo percorso ufficiale, per oltre due decenni Giacomini ricopre la carica di presidente del Museo delle Ceramiche di Castelli, svolgendo attività di curatela di mostre ed eventi, in un'ottica di valorizzazione della storia e del patrimonio della sua terra natale. Anche la storia della sua collezione ha radici profonde. Iniziata da suo padre Alfredo, con l'aiuto dell'altro figlio Fernando, la raccolta fu arricchita da Giovanni che, a partire dagli anni '70, con grande determinazione e mosso da un amore sincero verso la sua terra, la incrementò sino a documentare in quasi cento opere le attività dei principali ceramisti castellani.
R. Durigon, M. Pace (a cura di), Castelli. Scritti in onore di Giovanni Giacomini, pp. 36-53, 2021
Faenza, a. CVII (2021), n. 2, p. 28-52, 2021
Troiano Acquaviva d’Aragona (1695-1747) was a very influential figure in Rome in the first half o... more Troiano Acquaviva d’Aragona (1695-1747) was a very influential figure in Rome in the first half of the 18th century, at the center of a dense network of economic, political and cultural relations, and was a protagonist of European collecting. His role in the Accademia dell’Arcadia is reflected in his collecting practice. This essay presents a portion of the Inventory of his possessions, subdivided by type (ceramics, paintings, silver, sacred vestments and jewelry), along with other comparative documents.
La rivoluzione del gusto. Objets d’art di lusso per l’aristocrazia alla moda, dans La fragile bellezza, catalogue d’exposition sous la direction de G. Matricardi, S. Papetti (Teramo, Pinacoteca Civica, 18/12/2021 – 01/05/2022), Teramo, Artifex, p. 13-18., 2021
Revue de l’Art, n. 209 (2020), p. 23-33., 2020
Fernando Filipponi : Souvenir of Arcadia in the Museo Gualtieri ; The Literary Sources in the Dec... more Fernando Filipponi : Souvenir of Arcadia in the Museo Gualtieri ; The Literary Sources in the Decorative Arts at the Court of Clement XI.
This article adopts a single point of view of art history. The elegant majolica produced at the end of the 17th century in the workshop of Carlo Antonio Grue (1655- 1723), as well as those preserved in the “museum” of the Cardinal Filippo Antonio Gualtieri (1660- 1728) acted as the extremely sensitive developers of the concomitant dynamics that are at work in history and in art. Unfolding in the background was the creation, in 1690, of the Accademia dell’Arcadia, a literary circle where intense rhetorical thought was formed. The close relations joining the artists together oriented their choice, nourishing the political and cultural debate on a European scale and contributed to the birth of modern and up to date taste. Taste that then dictated the programs of interior arrangement as well as the choice of paintings and of objects of art.
Faenza, a. CIII (2017), n. 2, p. 20-33. , 2017
The Suite de pièces ornementales, set of 12 engraved plates, signed by François Bignon (c.1620-po... more The Suite de pièces ornementales, set of 12 engraved plates, signed by François Bignon (c.1620-post1668) and Zacharie Heince (1611-1669), seems to be inspired by the decorations made in the middle of 17th century in the Parisian hotel of the chancellor Pierre Séguier (1588-1672) and today disappeared. in the following years, these patterns have been translated by craftsmen of the two most important european centres of pottery production in the 17th and 18th centuries: Nevers and Castelli.
Faenza, a. CIII (2017), n. 1, 2017
Journal of Museum of Applied Art, Belgrade, 2017
In the 17th century, French art came through a campaign of renewal and emancipation from Italian ... more In the 17th century, French art came through a campaign of renewal and emancipation from Italian artistic models. The artists of this period, mainly working at the construction site of Versailles, sought to disseminate new models, already tested when furnishing aristocratic residences. These new decorative models, developed in the studios of the French capital, also affected the development of decorative arts, even beyond the borders of France.
The Suite of Ornamental Pieces (Suite de pièces ornementales), a set of twelve engraved plates, signed by François Bignon (ca. 1620 – after 1668) and Zacharie Heince (1611–1669), seems to be inspired by the decorations made in the mid-17th century in the Parisian mansion of the chancellor Pierre Seguier (1588–1672) which are now non-existent. In the following years, these patterns were adopted by craftsmen in the two most important European centres of pottery production in the 17th and 18th centuries: Nevers and Castelli.
The city of Nevers, in central France, benefited from a strategic location close to trade routes, halfway between Paris and Lyon. Moreover, recent research proves that the artisans of Nevers were active participants at the construction site of Versailles. At the same time, the Italian potters working in Castelli introduced subjects from the Suite. This study tracks the contacts and active communication between the two studios, confirmed by the fact that they shared other unexpected iconographic sources.
Conference Presentations by Fernando Filipponi
ANNALES du 20e CONGRÈS de l’ASSOCIATION INTERNATIONALE pour l’HISTOIRE du VERRE Fribourg /Romont 7–11 septembre 2015, 2017
Actes du Colloque International sur le Document Numérique , Lyon 2017, 2018
1) EA Dicen-idf, Université Paris Nanterre msevero@parisnanterre.fr (2) Labex Les passés dans le ... more 1) EA Dicen-idf, Université Paris Nanterre msevero@parisnanterre.fr (2) Labex Les passés dans le présent, Université Paris Nanterre ffilipponi@parisnanterre.fr Citation : M. Severo, F. Filipponi (2017), « Le paradoxe documentaire des inventaires numériques du patrimoine culturel immatériel », Proceedings of CIDE, Lyon, Novembre.
Books by Fernando Filipponi
Amateurs et institutions. Perspectives historiques, explorations numériques, 2022
Depuis l’époque des cabinets de curiosités jusqu’à l’affirmation des Académies, la figure de l’am... more Depuis l’époque des cabinets de curiosités jusqu’à l’affirmation des Académies, la figure de l’amateur de l’époque moderne a joué un rôle important dans la construction des savoirs aux côtés des institutions. Aujourd’hui, face au nouvel essor de l’amateur 2.0, les institutions culturelles redécouvrent cette figure et cherchent de nouvelles solutions de médiation participative pour orienter son énergie vers l’enceinte des musées, des archives, des bibliothèques… Si l’amateur participe au fil des siècles à l’avancement et à la diffusion des connaissances en complémentarité des institutions et si, aujourd’hui, il redevient acteur sur la scène culturelle, son profil et son rôle méritent un nouvel approfondissement. Cet ouvrage collectif se lance un double défi : l’un historiographique, l’autre de terrain. La première partie vise à tisser les fils rouges entre les siècles autour de cette figure et notamment autour de sa relation avec les institutions, depuis l’activité de l’Académie d’Arcadie à Rome à la fin du xvii e siècle, jusqu’au glitch au xx e siècle. À la lumière de ces réflexions historiques, la deuxième partie propose une nouvelle lecture pour l’amateur contemporain, en profitant des terrains très riches offerts par le périmètre du Labex Les passés dans le présent. Plusieurs cas d’étude sont présentés pour réinterpréter cette relation entre amateur et institution, et pour relier les phénomènes actuels, ancrés au numérique, à la longue histoire de ce rapport, bien loin d’être linéaire.
Souvenir d’Arcadia. Ispirazione letteraria, classicismo e nuovi modelli per le arti decorative alla corte di Clemente XI, Torino, Allemandi, 2020
Solitamente inquadrate dalla prospettiva ufficiale delle arti «maggiori», le vicende della storia... more Solitamente inquadrate dalla prospettiva ufficiale delle arti «maggiori», le vicende della storia dell'arte sono analizzate in questo saggio da un punto di osservazione strategico. Le arti decorative infatti, come le eleganti maioliche prodotte a fine Seicento dall'atelier di Carlo Antonio Grue, costituiscono una cartina al tornasole sensibilissima alle dinamiche coeve della storia e dell'arte. Sullo sfondo è la nascita, il 5 ottobre 1690, dell'Accademia dell'Arcadia, cenacolo letterario attorno a cui prendono forma una vivace riflessione teorica e una fitta rete di relazioni che orientano anche le scelte degli artisti. Con lo sguardo rivolto alla committenza arcadica, Grue mette a punto una «linea di lusso» caratterizzata da nuove forme e nuovi modelli decorativi. E vara, in definitiva, un nuovo, moderno, istoriato. Rare e costose, le sue maioliche sono considerate da questi collezionisti le più belle d'Italia.
Un rêve d’Italie. La collection du marquis Campana, catalogue d’exposition sous la direction de F. Gaultier, L. Haumesser, A. Trofimova (Musée du Louvre, 8/11/2018 – 11/02/2019), Paris, LienArt, 2018, p. 65, n. 27 ; p. 422-448, n. 394-446 ; p. 550, n. 514-515., 2018
Un rêve d'Italie La collection du marquis Campana Un rêve d'Italie Cet ouvrage accompagne l'expos... more Un rêve d'Italie La collection du marquis Campana Un rêve d'Italie Cet ouvrage accompagne l'exposition « Un rêve d'Italie. La collection du marquis Campana », présentée à Paris, au musée du Louvre,
Dea Fortuna: iconografia di un mito, catalogue d’exposition sous la direction de Manuela Rossi (Carpi, Palazzo dei Pio, 17/09/2010 – 9/01/2011), s.l., s.n., 2010, n. 18, 19, 20, p. 57-59., 2010
Enfants de la Renaissance, catalogue d’exposition sous la direction de E. Latrémolière (Château Royal de Blois, 18/05/2019 – 01/09/2019), Paris, In Fine éditions d'art, 2019, p. 144-145, n. 2 ; p. 166-167, n. 20. , 2019
Aurelio Anselmo Grue. La maiolica nel Settecento fra Castelli e Atri, 2015
Book Reviews by Fernando Filipponi
TECA, volume XII, numero 6ns (dicembre 2022), 2022
Francesca LUI
(recensione)
Faenza, a. CVII (2021), n. 2, p. 91-94, 2021
Carola FIOCCO, Gabriella GHERARDI
(recensione)
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Papers by Fernando Filipponi
This article adopts a single point of view of art history. The elegant majolica produced at the end of the 17th century in the workshop of Carlo Antonio Grue (1655- 1723), as well as those preserved in the “museum” of the Cardinal Filippo Antonio Gualtieri (1660- 1728) acted as the extremely sensitive developers of the concomitant dynamics that are at work in history and in art. Unfolding in the background was the creation, in 1690, of the Accademia dell’Arcadia, a literary circle where intense rhetorical thought was formed. The close relations joining the artists together oriented their choice, nourishing the political and cultural debate on a European scale and contributed to the birth of modern and up to date taste. Taste that then dictated the programs of interior arrangement as well as the choice of paintings and of objects of art.
The Suite of Ornamental Pieces (Suite de pièces ornementales), a set of twelve engraved plates, signed by François Bignon (ca. 1620 – after 1668) and Zacharie Heince (1611–1669), seems to be inspired by the decorations made in the mid-17th century in the Parisian mansion of the chancellor Pierre Seguier (1588–1672) which are now non-existent. In the following years, these patterns were adopted by craftsmen in the two most important European centres of pottery production in the 17th and 18th centuries: Nevers and Castelli.
The city of Nevers, in central France, benefited from a strategic location close to trade routes, halfway between Paris and Lyon. Moreover, recent research proves that the artisans of Nevers were active participants at the construction site of Versailles. At the same time, the Italian potters working in Castelli introduced subjects from the Suite. This study tracks the contacts and active communication between the two studios, confirmed by the fact that they shared other unexpected iconographic sources.
Conference Presentations by Fernando Filipponi
Books by Fernando Filipponi
Book Reviews by Fernando Filipponi