Issue link: http://papercitymagazine.uberflip.com/i/1538826
Statue of a Goddess, known as the Hestia Giustiniani, Roman, Imperial Period, Hadrianic Era (first half of 2nd century AD), at the Kimbell Art Museum R e v e r e d a n d meticulously cataloged, the more than 600 ancient Roman sculptures that make up the Torlonia Collection were once fixtures in the private villas and gardens of Italy's elite. Over the course of two millennia, these prized artifacts underwent various phases of care and intervention — and were sometimes restored multiple times — by successive owners across centuries and generations. As Western society's perception of ancient marble sculpture evolved, so too did the philosophy of preservation, shifting from functional restoration to careful conservation. "Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection," arriving this month at the Kimbell Art Museum, Fort Worth, details the long and storied journey of 58 selections from the extensive collection. Accompanying the marble portraits of emperors, gods and goddesses, funerary monuments, and sarcophagi are revealing diagrams indicating which portions of the sculpture are original and which were added or changed at a later time. This exhibition marks a milestone for the Kimbell: Not only have these rare artworks been largely unseen for the past 70 years, but "Myth and Marble" marks the museum's first-ever show of ancient Roman sculpture. The ambitious conservation effort has been led since 2017 by Fondazione Torlonia in partnership with the philanthropic wing of Bulgari, which now serves as the main sponsor of both the restoration and the current exhibition's U.S-Canadian tour. As an independent entity, Fondazione Bulgari builds on the iconic jeweler's cultural, philanthropic, and educational legacy through its focus on art and patronage, education and philanthropy, and the transmission of artistic craftsmanship to future generations. In describing the conservation work supported by Fondazione Bulgari, "Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection" at the Kimbell Art Museum Ancient Rome "Myth and Marble" — which made its North American debut to record crowds at the Art Institute of Chicago this spring — is a "highly commendable and huge undertaking," says Jennifer Casler Price, senior curator of Asian, African, and Ancient American Art at the Kimbell and curator of the exhibition for its Fort Worth presentation. She expects a strong reception for the exhibition in North Texas. "Ancient Roman sculpture is a field that many people are familiar with," she says. "There are new things to learn about the culture, conservation efforts, and the history of the works — including how they traveled from ancient Rome to Fort Worth, Texas, on a journey spanning 10,000 miles and 2,000 years." After its third and final stop at the Montreal Museum of Fine Arts next March, the Torlonia Collection returns to the Fondazione Torlonia in Rome. This longer-term vision will ensure that these masterpieces remain accessible for future generations, while the restoration and conservation efforts with Fondazione Bulgari continue, with around 150 works preserved to date. Assiduous Collectors + What You'll See The Torlonia Collection was established during the 19th century by Franco-Italian banker Prince Giovanni Torlonia and his son, Prince Alessandro. The collection grew into the world's leading private assemblage of ancient Roman sculpture through acquisitions from noble families and excavations on Torlonia estates. In 1876, Prince Alessandro founded the private Museo Torlonia to house the marbles, cataloged in their entirety in the late 19th century. Although the museum closed during World War II, Fondazione Torlonia more recently began restoring and studying the collection in preparation for its international debut. Fondazione Torlonia director Carlotta Loverini Botta says, "The restoration process takes the works back in time without altering the old patina of the object. These objects have withstood the passage of centuries. Our role is not to 'repair' them, but to preserve their authenticity and integrity for the future. In the past, when a sculpture was unearthed missing a feature — perhaps a nose or a hand — collectors often chose to complete it, reflecting the aesthetic ideals of their time. Today, we honor both their ancient origins and these historical interventions as part of the rich journey that each work has lived." Fondazione Torlonia's presentation of An Ode to By Edward Brown (Continued on page 128) 118