18세기 독일과 이탈리아의 예술교류: 프란체스코 알가로티와 드레스덴의 왕립 미술관의 수집과 전시 = Artistic Exchange between Germany and Italy in the 18th Century: Comte Francesco Algarotti and the Staatliche Gemäldegalerie in Dresden

다국어 초록 (Multilingual Abstract)

The art collection of the Dresdener court in the 18th century is recognized as the best historical example of international cultural and artistic exchange in Europe and of the foundation of the modern museum. The Dresdener court, which had just enhanced its status from an elector to a kingdom that included Polish territory, brought out in same time a cultural restoration that was defined as "Die Augusteische Epoche". These Developments of the cultural status emerged in the unprecedented expansion of the art collection, which had been achieved intermittently since the Renaissance, and in the reorganization of the early 'Kunstkammer' to the modern museum. Until then art collection was a cultural phenomenon resulting from individual taste or possessiveness of a lord, but in the Baroque period it gained new functions to represent the power of a nation and to announce its cultural status. Thereafter, namely during the Enlightenment period in the 18th century, art collection obtained significant cultural value, in addition to the above-mentioned purposes, and also came to serve as an autonomous institution.
Dresdener Staatliche Gemäldegalerie today is a heritage created by such history. The characteristic of this museum is that it is the collector of representative Italian works of the Renaissance, Baroque and the 18th century periods. This collection was achieved mainly by international purchase of the artworks during the same century. For effective and precise art collection the Dresdener Court made good use of many agencies and had set up various diplomatic lines. One of the objectives of this study is to demonstrate that Francesco Algarotti, a Venetian scholar, had involved himself in that international art collecting process, and that his contribution to the foundation of the modern museum was significant in the development of the history of art as well. Algarotti carried on the purchase of paintings, commissioned by the Court, from 1742 to 1746, for about for 7 years in Italy. He was already famous for his sociality and intelligence, and was known as the one of the most prominent Italian Enlightenment scholars. He was welcome in almost every royal court in Europe.
Algarotti began his task with a proposal for the reorganization of the royal collection based on his background of theoretical and historical knowledge. With his museum proposal, which was under the title "Progetto per ridurre a compimento il regio museo di Dresda" he began to take part in the art purchase of the Dresdener Court. In this proposal Algarotti discussed conditions and systems of the modern museum, and systematization of the art collection. To him the practice of art collection had to fulfill such conditions, and went beyond the private tastes of collectors, aiming towards a dimension of art-historical and modern museum. Furthermore, making reference about the classification of art works and the establishment of space for display, Algarotti mentioned the architecture of museums, which should be built more systematically and modern. His proposal reflects the historicism that set up on the Enlightenment period and precedes the modern museum, which is characterized by its publicity and autonomy.
Algarotti set to his work according to the proposal and tried to buy paintings especially in Italy. Except for a few pieces, the works he purchased in Venice and Mantua are representative works of each period. Although he was not a professional dealer, he was a philosopher with an international carrier, and was equipped with excellent sociality and relationship networks throughout all courts in Europe. This capability of Algarotti made him the official agent for the Dresdener Court, and he expected the court to nominate him as director of the museum that would be established according to his own proposal. It is known that a total of 34 paintings were purchased by Algarotti according to documentations in Treviso and in the national archive in Dresden. No...

다국어 초록 (Multilingual Abstract)

The art collection of the Dresdener court in the 18th century is recognized as the best historical example of international cultural and artistic exchange in Europe and of the foundation of the modern museum. The Dresdener court, which had just enhanced its status from an elector to a kingdom that included Polish territory, brought out in same time a cultural restoration that was defined as "Die Augusteische Epoche". These Developments of the cultural status emerged in the unprecedented expansion of the art collection, which had been achieved intermittently since the Renaissance, and in the reorganization of the early 'Kunstkammer' to the modern museum. Until then art collection was a cultural phenomenon resulting from individual taste or possessiveness of a lord, but in the Baroque period it gained new functions to represent the power of a nation and to announce its cultural status. Thereafter, namely during the Enlightenment period in the 18th century, art collection obtained significant cultural value, in addition to the above-mentioned purposes, and also came to serve as an autonomous institution.
Dresdener Staatliche Gemäldegalerie today is a heritage created by such history. The characteristic of this museum is that it is the collector of representative Italian works of the Renaissance, Baroque and the 18th century periods. This collection was achieved mainly by international purchase of the artworks during the same century. For effective and precise art collection the Dresdener Court made good use of many agencies and had set up various diplomatic lines. One of the objectives of this study is to demonstrate that Francesco Algarotti, a Venetian scholar, had involved himself in that international art collecting process, and that his contribution to the foundation of the modern museum was significant in the development of the history of art as well. Algarotti carried on the purchase of paintings, commissioned by the Court, from 1742 to 1746, for about for 7 years in Italy. He was already famous for his sociality and intelligence, and was known as the one of the most prominent Italian Enlightenment scholars. He was welcome in almost every royal court in Europe.
Algarotti began his task with a proposal for the reorganization of the royal collection based on his background of theoretical and historical knowledge. With his museum proposal, which was under the title "Progetto per ridurre a compimento il regio museo di Dresda" he began to take part in the art purchase of the Dresdener Court. In this proposal Algarotti discussed conditions and systems of the modern museum, and systematization of the art collection. To him the practice of art collection had to fulfill such conditions, and went beyond the private tastes of collectors, aiming towards a dimension of art-historical and modern museum. Furthermore, making reference about the classification of art works and the establishment of space for display, Algarotti mentioned the architecture of museums, which should be built more systematically and modern. His proposal reflects the historicism that set up on the Enlightenment period and precedes the modern museum, which is characterized by its publicity and autonomy.
Algarotti set to his work according to the proposal and tried to buy paintings especially in Italy. Except for a few pieces, the works he purchased in Venice and Mantua are representative works of each period. Although he was not a professional dealer, he was a philosopher with an international carrier, and was equipped with excellent sociality and relationship networks throughout all courts in Europe. This capability of Algarotti made him the official agent for the Dresdener Court, and he expected the court to nominate him as director of the museum that would be established according to his own proposal. It is known that a total of 34 paintings were purchased by Algarotti according to documentations in Treviso and in the national archive in Dresden. Now th...

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