GALLERIA BORGHESE: ART BEYOND THE MUSEUM
According to Antonio Canova, it was “the most beautiful private collection in the whole world,” stemming from the collecting endeavors of Cardinal Scipione Borghese, nephew to Pope Paul V. The Cardinal’s firm willingness to preserve and exhibit the extraordinary artworks belonging to one of the noble families of Rome and Italian patronage has meant that Galleria Borghese today provides an extraordinary opportunity to fully immerse oneself in art as well as in the work of the most admired masters of all times. Guiding us in the present and into the future of what art historian Francis Haskell has defined as a “wonderful confusion” is Francesca Cappelletti – Director of Galleria Borghese since September 2020, and full-time professor of History of Modern Art at Università di Ferrara. For many years now, Director Cappelletti has been dedicating her studies and specialized in Italian collecting in the period spanning from the Renaissance through to the nineteenth century.
You have taken up your post back in September, in the very particular conditions which the pandemic has now sadly accustomed us to. In museums behind closed doors, however, the work and the thinking about future approaches continues... Unfortunately, we have had to once again close the museum just after my arrival, though we’ve never actually stopped. We have worked at full speed on the incessant research on the artworks, on conservation aspects, but also on future projects. The absence of the public has given us the opportunity to dedicate ourselves to several restoration works, as well as to rethinking the displays. But above all, this period of time has given us the opportunity to reflect on the collections and on the museum’s role in general. Thinking of the museum as a place where one can learn, we are working on making the visitor’s experience increasingly educational. A museum should be a place where one can search and study, and when the doors are closed, this experience must become an online one. This is why we are strongly committed to expanding our online presence. With Maria Laura Vergelli – who is in charge communications – we have developed a program of online events and at the same time, we are working on expanding the resources on our website so that anyone can interact with us, even from home.
Guido Reni’s painting Danza Campestre has finally returned to Galleria Borghese after being reported as missing for a very long time. How important is it to have achieved a similar goal in such complex times for the art world and the world of culture?
The fact that the painting Danza Campestre has returned to its original seat is no doubt an incredible achievement. The painting once belonged to Cardinal Scipione Caffarelli Borghese, so bringing it back here to his Villa really means a great deal. The return of this painting to the collection makes us think about the collection as a whole and leads us back to the relationship that used to bind Scipione and Guido Reni, who was one of his favorite artists. The cardinal had understood the uniqueness of his style and had entrusted him with major works – such as decorating – with the famous Aurora, one of the small buildings of his palace on the Quirinal hill. It is a very positive outcome – and not just for Galleria Borghese – but for the world of art and of culture as a whole.
“Direct experience remains key, but we will continue to cater for those who cannot physically reach us, as that’s no reason for them to be kept away from such reservoirs of beauty and history. They will still be able to become part of a community undergoing construction, sharing passion and knowledge”
The Gallery’s permanent collection has had an international dimension for centuries, just as testified by the travel literature “Grand Tour.” How does one enhance this extraordinary exhibition heritage further?
In order to enhance our extraordinary exhibition heritage – during this period of time in which it was mandatory to stay closed – we have had to enhance our digital activities. We have recorded book presentations – from Aldo Cazzullo to Paolo Di Paolo – but also videos in which those who work in our museum on a daily basis (art historians and restorers) explain the artworks.
In the column “Uno sguardo da lontano,” (Taking a look from afar) we have hosted lectures on our works by the likes of French Academy director Sam Stourdzé or Elisabetta Rodini, who are in charge of art history at the American Academy. These initiatives have been a great success as they have engaged our public by making them feel as if they were part of the museum’s activities during this difficult period of time.
An announcement has been made as to an exhibition by Damien Hirst with an impressive group of works from the series “Treasures from the Wreck of the Unbelievable.” Ancient meets contemporary: how do these two souls coexist in the Gallery’s exhibition floors, and in future programming?
Ancient and contemporary have always dialogued at Galleria Borghese. It’s a relationship that has always been fostered in the past, especially by former director Anna Coliva. The juxtaposition of ancient and contemporary opens the door to new possible interpretations of the works. I believe there are contemporary artists who can truly create a new interpretation of the artworks within the gallery, thus helping us to understand the artworks even further. For the time being there are no solid projects but many ideas… we’ll see!
The mission of museums in general is not that of handling art as a goal in itself, but to ensure its accessibility and availability as broadly as possible. Where is Galleria Borghese at – in this respect – and in more general terms, where is Italy at?
As a result of what happened, museums all over Italy are enhancing their digital presence in order to ensure the broadest possible accessibility and availability. This digital expansion allows museums to make themselves known to a wider audience that would not have necessarily had a museum experience on a regular basis. I believe that addressing different audiences – also by reaching out to non-museum audiences – may be one of our ambitions. Showing the studies we are carrying out here can just attract potential visitors closer – for the time being only to the website – but hopefully soon, also to our halls.
A process of opening up and inclusion by way of online and social communication; we have seen it in recent months (also in response to the need to find alternative ways of interaction). How much will we see of it in the future?
I decided to expand Galleria Borghese’s online activity immediately upon my arrival. We have worked on the digital aspect a great deal: new contents on the website, on Instagram, on Youtube and on all social channels. Creating a relationship with the museum’s visitor that goes beyond what is established through the physical experience at the museum itself was paramount at the time, and still is. Ever since we first posted the videos with the curators or the poetry readings, our Instagram page has grown considerably. Our visitors wish to feel involved in the museum’s activities. As far as the future is concerned, I think you will see quite a bit on our part! The virtual experience will never replace the in-person one, but it will go hand in hand with it and it will be aimed at preparing for the visit, or in any event making it a more comprehensive one. Direct experience remains key, but we will continue to cater for those who cannot physically reach us, as that’s no reason for them to be kept away from such reservoirs of beauty and history. They will still be able to become part of a community undergoing construction, sharing passion and knowledge.