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Marc-Joachim Wasmer. The Museo Vincenzo Vela in Ligornetto
Introduction
Vincenzo Vela (1820–1891): A Ticinese Sculptor in the Service of the Risorgimento
A child prodigy
Early recognition in Milan
Spartacus, hero of the oppressed
Turin, Italy’s hope
Politics on a pedestal
International exhibitions and triumphs
Managing studios and creating an art industry
A conspiracy?
Aborted commissions
The Victims of Labour
Late works and legacy
Today
Lorenzo Vela (1812–1897)
Spartaco Vela (1854–1895)
Villa Vela: Artist’s House and Museum. History
Reconstruction
The villa and plaster cast gallery: prestige and commitment
Laboratory and temple of art
Museo Vincenzo Vela Today
An architectural stroll
The historic garden
Visit
Room VII. Symbols of resurgence and new heroic figures
Room I. Pantheon of the Risorgimento
Room VI. Painting gallery: North Italian art of the 19th century
Room V. Lorenzo Vela: advocate for Vincenzo Vela
Room IV. Bozzetti and models in the sculptor’s experimental laboratory
Room III. Family, personal objects and self-representation
Room II. Library: culture and inspiration – pure politics
Room XXII. Allegory and beauty: bodies of flesh and blood
Room XXI. Genre sculpture in competition with painting
Room XX. Funerary sculpture: realism and transcendence
Rooms X–XIXBIS Temporary exhibitions
Addenda
A New Look at a Forgotten Art, on the Occasion of the Bicentenary of Vincenzo Vela’s Birth: 1820–2020
Отрывок из книги
Marc-Joachim Wasmer
Museo Vincenzo Vela in Ligornetto
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Inundated with commissions, Vela had to adapt his productive capacities to the growing demand, which meant running three studios contemporaneously and employing many assistants and specialized pupils. The sculpture workshop rapidly became a profitable art factory with skilled workers, although the quality of the pieces sometimes suffered. He continued to execute small-scale models personally for use in negotiations with clients, but after casting the life-size clay models in plaster he left to his assistants the challenging task of transposing the model into marble and the polishing of the finished sculpture. He supervised the development of projects as creator, organizer and businessman, doing the manual work himself when it was a question of producing the much-admired surface effects: the public was easily won by his technical virtuosity.
Vincenzo Vela, The Flag-Bearer: Monument to the Sardinian Army, 1857–1859, plaster original.
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