Held at Warwick-in-Venice, the Palazzo Pesaro Papafava.
Cultural production in early modern Italy remained intimately tied to neighborhood, friendship, and extended kinship ties. The family formed a key component of identity but, as the historian Thomas Kuehn observed, the family was not just a “genetically constituted, co-residential unit of production and consumption. It was a group with practical interests that were mediated by cultural logic.” While studies of patronage have shed much light on the dynastic relationships of artistic patrons and agents, much work remains to be done on the makers’ families.
This summer workshop considered and debated the role of fathers and sons in artistic production, including both biological and adopted children; the importance of marriage and the role of women, especially daughters, in artistic families; the role and extent of the extended family, such as uncles, cousins, and sons- or brothers-in-law; the impact of death, family conflict, or break-up in artistic production; and the impact of family workshops on artistic style and form over the longue durée from the fourteenth to the eighteenth century.
The program included papers from guest speakers, both academics and museum curators; guided visits to artistic workshops and homes; and hands-on sessions in the city’s rich archives. Participants also presented their own research.
Alessandra Schiavon, Archivio di Stato, Frari
Christina Guarnieri, Università degli Studi di Padova
Susan Steer, University of Warwick
Tracy Cooper, Tyler School of Art
Tom Nichols, University of Aberdeen
John Gash, University of Aberdeen
This is one of a series of collaborative programs between the University of Warwick Centre for the Study of the Renaissance and the Newberry Center for Renaissance Studies, funded by a generous grant from the Andrew W. Mellon Foundation.