Stunning Ancient Roman Sculptures Make Their North American Debut

The renowned collection of ancient Greek and Roman artifacts belongs to the affluent Torlonia family from Italy. This exceptional assembly comprises 622 pieces such as sarcophagi, divine statues, and marble portraits of Roman rulers.

After being locked away For most of the 20th century, the collection traversed Europe as part of highly anticipated exhibition tours. Recently, a segment of the Torlonia Collection made its way to North America for a three-stop journey, representing the first time these artworks have been publicly shown beyond European borders.

The inaugural venue for this exhibition is the Art Institute of Chicago. It is called " Myth and Marble: The Ancient Roman Sculptures from the Torlonia Collection ," the exhibit will showcase 58 sculptures, as stated by a statement From the museum. All these exhibits are seldom viewed, with 24 of them not having been shown for almost a hundred years.

As co-curator Lisa Ayla Çakmak tells the New York Times Elisabetta Povoledo has mentioned that the Chicago exhibition will "have a distinct feel compared to the presentations seen in Europe." The aim is to cater to those who might not be specialists and could have limited knowledge of the ancient world, such as people who would enjoy, for instance, meeting an historical figure eye-to-eye. Marcus Aurelius , who gained popularity through the Gladiator film franchise.

The artworks in the Torlonia Collection range from the fifth century B.C.E. to the fourth century C.E., with most being created during the latter period. Roman Imperial Period , starting in 27 B.C.E. during the rule of Augustus, who was the initial Roman emperor, and concluding with the fall of the Western Empire in 476 C.E. A key theme explored in "Myth and Marble" involves depictions of imperial figures: artworks portraying Roman emperors along with their relatives, featuring an impressive array of female likenesses as noted by the museum.

"This substantial collection of portraits enables us to underscore the crucial part that imperial imagery had in visually supporting dynasty continuity across the wider Roman Empire," states the co-curator. Katharine A. Raff In the statement, 'Specifically, the depictions of women provide a significant chance to explore the underlying "soft" power and influence possessed by numerous women from prominent Roman households.'

In the early 1800s, the Torlonia family initiated their art collection through a public auction where they obtained an Italian sculpture. Bartolomeo Cavaceppi His collection includes ancient marbles as well as terracotta and bronze statuettes, according to Torlonia Foundation The family amassed its wealth starting in the 18th century when Giovanni Torlonia took up the role of the Vatican’s accountant and was subsequently granted the titles of Duke and Count. Over the ensuing years, the Torlonias accumulated significant riches through their business and banking endeavors, according to Çakmak and Raff writing for the Chicago museum. website .

Throughout the 19th century, the family kept expanding their collection of artwork until they finally bought a space brimming with sculptures. Villa Albani In 1866. A few years after that, Prince Alessandro Torlonia established a private museum In Rome to showcase the collection, but it closed down with the onset of World War II, resulting in the artwork being inaccessible to the public for many years afterward.

As Carlotta Loverini Botta, who leads the Torlonia Foundation, explains to the Art Newspaper Gareth Harris from the organization mentioned aims to have this museum reopened indefinitely. Authorities continue to search for a suitable location in partnership with the Italian government.

The luxury fashion brand Bulgari supported a recent refurbishment of numerous statues from the Torlonia Collection, encompassing roughly two dozen pieces showcased in "Myth and Marble." Among these artworks is a second-century C.E. funerary monument ordered by the parents of a young boy called Gaius Marcius Crescens. The inscription reveals that Crescens passed away at the age of 14 years and nine hours. As noted by the curators, wealthy Romans frequently created such memorials for deceased family members and would pay visits to them during birthdays and holidays.

Certain pieces within the Torlonia Collection offer glimpses into historical restoration methods that now seem outmoded. According to the curatorial notes, "A number of contemporary observers have been trained to admire the fragmented condition of classical Roman statues; however, earlier owners from the 1600s to the late 1800s preferred artworks that were whole." In these times, artisans frequently supplemented their income by restoring ancient sculptures with new extremities and facial features.

Once the Torlonia exhibit concludes at the Chicago museum, it will move on to the next destination. Kimbell Art Museum In Fort Worth, Texas, prior to relocating to the Fine Arts Museum of Montreal In Canada, as Loverini Botta recounts the story, Art Newspaper The museums are not just covering the costs associated with setting up exhibitions but are also facilitating additional research and examination of artworks within their collections. This includes comprehensive scans of specific sculptures that enhance academic study.

The journey of this collection across the Atlantic has been awaited for quite some time. "Expanding internationally has always been a key focus for us," states Alessandro Poma Murialdo, president of the Torlonia Foundation. Times , emphasizing that the artwork should inspire "as many people across different nations as possible."

“ Myth and Marble: The Ancient Roman Sculptures from the Torlonia Collection will be exhibited at the Art Institute of Chicago from March 15 to June 29.