UM EXEMPLO
Os cem anos do Fundo Para a Colecção de Obras Artísticas nacionais, do Reino Unido, dão um bom tema de reflexão. A Spectator traz um belo artigo sobre o asunto. Excerto: From the first, the Fund has adroitly boxed above its weight, not least by masterminding ambitious public appeals to save such outstanding trophies as Velázquez’s ‘Rokeby Venus’ (its first and arguably greatest coup) or the Leonardo Cartoon — the latter campaign drawing over a quarter of a million visitors to see it at the National Gallery in 1962. The Fund has successfully lobbied for increased museum grants, championed free public access to museums, and broadened the debate as to what does, or should, constitute the national heritage.
In an age when prices for major works of art increasingly necessitate funding from a wide range of grant-awarding bodies, a contribution from the Art Fund (as it now calls itself) has kick-started many a major fund-raising appeal. To date, the Fund has supported the acquisition of half a million works of art by some 600 British museums, galleries and historic buildings, 56,000 of them presented as gifts or be-quests. Little wonder that those institutions should have responded so generously to the Fund’s request to borrow many of their greatest and best-loved treasures for its centenary retrospective.
A exposição alusiva à efeméride, intitulada «Saved» e que agrupa obras que o Fundo conseguiu que permancessem no Reino Unido está na Harvard gallery de Londres até 18 de janeiro.
Os cem anos do Fundo Para a Colecção de Obras Artísticas nacionais, do Reino Unido, dão um bom tema de reflexão. A Spectator traz um belo artigo sobre o asunto. Excerto: From the first, the Fund has adroitly boxed above its weight, not least by masterminding ambitious public appeals to save such outstanding trophies as Velázquez’s ‘Rokeby Venus’ (its first and arguably greatest coup) or the Leonardo Cartoon — the latter campaign drawing over a quarter of a million visitors to see it at the National Gallery in 1962. The Fund has successfully lobbied for increased museum grants, championed free public access to museums, and broadened the debate as to what does, or should, constitute the national heritage.
In an age when prices for major works of art increasingly necessitate funding from a wide range of grant-awarding bodies, a contribution from the Art Fund (as it now calls itself) has kick-started many a major fund-raising appeal. To date, the Fund has supported the acquisition of half a million works of art by some 600 British museums, galleries and historic buildings, 56,000 of them presented as gifts or be-quests. Little wonder that those institutions should have responded so generously to the Fund’s request to borrow many of their greatest and best-loved treasures for its centenary retrospective.
A exposição alusiva à efeméride, intitulada «Saved» e que agrupa obras que o Fundo conseguiu que permancessem no Reino Unido está na Harvard gallery de Londres até 18 de janeiro.
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