{"id":9320,"date":"2022-01-17T09:39:49","date_gmt":"2022-01-17T08:39:49","guid":{"rendered":"https:\/\/fokum.org\/?page_id=9320"},"modified":"2022-02-03T08:14:48","modified_gmt":"2022-02-03T07:14:48","slug":"lynn-catterson","status":"publish","type":"page","link":"https:\/\/fokum.org\/en\/lynn-catterson\/","title":{"rendered":"Lynn Catterson"},"content":{"rendered":"\n

Open Access: Fokum eEvening Lecture Winter Term 2021\/2022<\/h1>\n\n\n\n

LIVE ONLINE EVENT<\/strong> \/\/ TUB-ZOOM<\/h2>\n\n\n\n

Lynn Catterson, Ph.D., New York, talks about: <\/span><\/p>\n\n\n\n

Stefano Bardini and the Manufacture of Authenticity<\/h2>\n\n\n\n

Date:<\/strong> 31\/01\/2022, 18:15-19:45 h CET
Venue: <\/strong>TUB-Zoom<\/p>\n\n\n\n

\"\"
Left: Pieces of objects in storage, Bardini deposits, Florence \u00a9 Lynn Catterson, 2013; right: Stefano Bardini in his later years (cropped from glass negative)<\/figcaption><\/figure><\/div>\n\n\n\n

++Due to the measures to contain COVID-19, all events of the Forum Kunst und Markt \/ Centre for Art Market Studies take place online in the winter term 2020\/2021.++

++Title, abstract and CV are always written in the respective language of presentation.++<\/p>\n\n\n\n

Abstract:\u00a0<\/strong>In November 1888, writing to the German museum official, Wilhelm Bode (1845-1929), the dealer Stefano Bardini (1836-1922) stated that he was certain that \u201ceight marbles and 12 terracottas\u201d in South Kensington (V&A) were fake, and that without doubt, upon further study, there is \u201cmuch to be found rotten.\u201d He mused to Bode of other doubts, that he would not discuss until he had inspected them himself. Four days later, Bode responded that, for the most part, he agreed with Bardini. However, Bode disagreed with Bardini that two of the Madonnas \u2014 a marble attributed to Donatello and a relief in gilded terracotta \u2014 were fakes. Bode concluded by telling Bardini that he would be very happy if Bardini could induce South Kensington to sell them as fakes, as he would happily buy them.
Drawing upon the one hundred years\u2019 worth of archival material in the Archivio Storico Eredit\u00e0 Bardini (ASEB) and the Archivio Fotografico Eredit\u00e0 Bardini (AFEB), in Florence under the jurisdiction of the Polo Museale Toscano, identified are Bardini\u2019s strategies for branding, marketing and transacting hundreds of Italian Renaissance objects that were made in the nineteenth century. The end result is the establishment of a rubric, or a formula per se, along which lines his fakes can be identified and located with predictability. Also discussed are issues of contamination of the canon and scholarly literature along with the associated complicity that necessarily insures the continued opacity of the situation today.<\/p>\n

Lynn Catterson<\/a> (Columbia Univ., Ph.D., 2002), part-time lecturer at Columbia University, began with an interest in Italian Renaissance sculpture with a focus on the marketplace and how\u00a015th century sculptors satisfied consumer demand for antiquities.\u00a0 Lately, she is working on the art market in 19th century Florence from the point of view of production and social network via its preeminent dealer, Stefano Bardini, drawing upon material in the state archive of the Bardini family and business, examining the structure and operational strategies of his vast international business. Her most recent publications include: \u201cDuped or Duplicitous?\u00a0 Bode, Bardini and the many Madonnas of South Kensington,\u201d Journal of the History of Collections, 2021; \u201cArt Market, Social Network and Contamination: Bardini, Bode and the Madonna Pazzi Puzzle,\u201d in L. Catterson, ed, Florence, Berlin and Beyond: Social Network and the Late Nineteenth-century Art Market, Brill, 2021.<\/p>\n

back<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Open Access: Fokum eEvening Lecture Winter Term 2021\/2022 LIVE ONLINE EVENT \/\/ TUB-ZOOM Lynn Catterson, Ph.D., New York, talks about:  Stefano Bardini and the Manufacture of Authenticity Date: 31\/01\/2022, 18:15-19:45 h CETVenue: TUB-Zoom ++Due to the measures to contain COVID-19, all events of the Forum Kunst und Markt \/ Centre for Art Market Studies take […]<\/p>\n","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-9320","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/9320","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/comments?post=9320"}],"version-history":[{"count":26,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/9320\/revisions"}],"predecessor-version":[{"id":9392,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/9320\/revisions\/9392"}],"wp:attachment":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/media?parent=9320"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}