Alfred Manessier

MuseoMag 2022_03

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Monografie

Strukturtyp:: Monografie

Titel:: Alfred Manessier

Untertitel:: oeuvres de 1935 à 1968; Musées de Metz 5.7.-14.9.1969, Musée d'Histoire et d'Art Luxembourg 19.9.-26.10.1969, Städtisches Museum Trier 8.11.-28.12.1969, Kunsthalle Bremen 3.1.-25.2.1970

Autor*in:: Dorival, Bernard

Erscheinungsjahr:: 1969

Herausgeber:: Musée d'histoire et d'art

Erscheinungsort:: Luxembourg

Maße:: [20] p.

Beschreibung:: Art moderne et contemporain

15 03 ‘ 2022 museomag A REJUVENATED “POETIC CREATION” (1/2) A NEW ATTRIBUTION FOR PAOLO AND FRANCESCA © éric chenal Tito Angelini (Naples, 1806-1878), Paolo and Francesca, 1857-60. White marble, 73 x 70 x 42 cm. Collection MNHA Luxembourg. The work of great masters often carries a heavy price tag. If, as a museum, you do not have such big names in your collection from the start, or later in history through donations or long-term loans, the developments in the art market tend to make it increasingly challenging to make up for that later. The caretakers of the Luxem- bourg national art collection were therefore overjoyed when, in 1939, they received a marble sculpture of two figures seated together, dated to c.1790 and attributed to Antonio Canova (1757-1822), the great sculptor of neo-classicism. The seated couple are Francesca da Rimini (c.1255-c.1285) and her brother-in-law Paolo Malatesta (c.1246/48-c.1285), embracing each other while reading. Both were married, but they fell in love. When Paolo’s elder brother Gianciotto found out about the affair, he killed his wife and brother with a dagger. The tragic adulterous story was told by Dante Alighieri in his Divine Comedy (1320) and became a popular subject with artists and writers, especially in the second half of the 19th century. NOT EVERY GREAT MASTER IS A “BIG NAME” The sculpture was donated by Maurice Schmitz (1882- 1968), a Luxembourg resident and then president of the Société des Amis des Musées de Luxembourg. The figures’ appearance and clothing – note Paolo’s hairdo in particular – point to the second half of the 19th century; a period long after the death of the great master himself, which may have been noticed by our colleagues of that era too. But a certain professor Ren- zo Canneli of Florence had authenticated the work as an original by Canova, and perhaps they didn’t want to look a gift horse in the mouth too much. Maybe it was not the most exemplary Canova, but it was a very nice sculpture all the same. Then as now, the MNHA collects focused entirely on the intrinsic qualities of art works, instead of targeting the big names, for which we do not have the budgets anyway. It is always rewarding to find pieces that enrich the international art collec- tion of Luxembourg and make the story of art that we FINE ARTS

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