{"id":11344,"date":"2023-09-12T14:18:44","date_gmt":"2023-09-12T12:18:44","guid":{"rendered":"https:\/\/bollettinodarte.cultura.gov.it\/?page_id=11344"},"modified":"2024-02-28T11:47:08","modified_gmt":"2024-02-28T10:47:08","slug":"stefano-grandesso-camillo-pacetti-e-linvenzione","status":"publish","type":"page","link":"https:\/\/bollettinodarte.cultura.gov.it\/?page_id=11344","title":{"rendered":"Stefano Grandesso: Camillo Pacetti e l\u2019invenzione\u00a0"},"content":{"rendered":"<div align=\"justify\"><strong><strong><strong><strong><span style=\"font-size: 12pt;\">Estratto dal volume speciale <em>Vincenzo Pacetti, Roma, L\u2019europa all\u2019epoca del Grand Tour <\/em>(2017)<\/span><\/strong><\/strong><\/strong><\/strong><\/p>\n<div align=\"justify\">La Minerva che infonde l\u2019anima all\u2019automa modellato da Prometeo, il gruppo che convince Giuseppe Bossi, su consiglio di Canova, a proporre Camillo Pacetti per l\u2019insegnamento della scultura presso l\u2019Accademia di Brera, \u00e8 l\u2019opera emblematica che divide la vicenda romana dell\u2019artista da quella milanese. Se la prima \u00e8 votata, sotto l\u2019egida del fratello Vincenzo come testimoniano i Giornali, al restauro dell\u2019antico e a commissioni decorative occasionali, la seconda fase \u00e8 invece impegnata sui temi dell\u2019invenzione &#8211; in gara con la classicit\u00e0 e i modelli esemplari dei grandi contemporanei Canova e Thorvaldsen &#8211; nei campi della scultura ideale e monumentale.<br \/>\nL\u2019opera costituisce un\u2019allegoria della scultura come arte liberale, affrancata dal grado meccanico del mestiere, e, giunta a Milano, si carica di inediti significati politici, celebrativi dell\u2019et\u00e0 napoleonica. In quanto tale introduce come un manifesto artistico l\u2019opera successiva di Camillo, invitando a una riflessione pi\u00f9 generale sullo statuto e le ambizioni dell\u2019arte della scultura tra XVIII e XIX secolo.<\/p>\n<p style=\"text-align: center;\"><strong><em>Camillo\u00a0Pacetti\u00a0and\u00a0<\/em>Invenzione<\/strong><\/p>\n<p>The group Minerva instilling the soul into the figure modeled by Prometheus, which convinced Giuseppe Bossi, on Canova\u2019s advice, to propose Camillo Pacetti for the position of teacher of sculpture at the Accademia di Brera, is the emblematic work that divides the artist\u2019s Rome from his Milanese period. If the first period was given to the restoration of antiquities and the occasional decorative commission under the aegis of his brother Vincenzo, as the Giornali testify, the second was instead focused on themes of invention \u2014 in com-petition with Classicism and the exemplary models of the great contemporaries Canova and Thorvaldsen \u2014 in the fields of ideal and monumental sculpture. The Minerva constitutes an allegory of sculpture as a liberal art, freed from the mechanical condition of the profes-sion. Once present in Milan, it became charged with unprecedented political meanings celebrating the Napoleonic era. Analogous to an artistic manifesto, it introduces the subsequent phase of Camillo\u2019s work, inviting a more general reflection on the status and ambitions of the art of sculpture in the late XVIIIth and early XIXth centuries.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Estratto dal volume speciale Vincenzo Pacetti, Roma, L\u2019europa all\u2019epoca del Grand Tour (2017) La Minerva che infonde l\u2019anima all\u2019automa modellato da Prometeo, il gruppo che convince Giuseppe Bossi, su consiglio di Canova, a proporre Camillo Pacetti per l\u2019insegnamento della scultura presso l\u2019Accademia di Brera, \u00e8 l\u2019opera emblematica che divide la vicenda romana dell\u2019artista da quella milanese.<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-11344","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/pages\/11344","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11344"}],"version-history":[{"count":9,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/pages\/11344\/revisions"}],"predecessor-version":[{"id":13076,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/pages\/11344\/revisions\/13076"}],"wp:attachment":[{"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11344"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11344"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11344"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}