Leonardo lovers, take note. Visitors to one of the most hotly anticipated shows of 2019 might find themselves disappointed thanks to efforts from Italy’s nationalist government to block previously agreed-upon loans of Leonardo da Vinci works from its national collection.
The Louvre’s blockbuster da Vinci show has pledged to bring an unprecedented number of the Renaissance master’s 17 known paintings together to mark the 500th anniversary year of his death, along with a large selection of drawings and a small but significant group of sculptures. But Italy’s new Eurosceptic government is having second thoughts about loaning its precious works to France in the landmark year, throwing a spanner in the works of the museum’s ambitious plans.
Lucia Borgonzoni, the undersecretary to the Italian culture minister Alberto Bonisoli, both of whom represent the ruling far-right party League, first told the media in November that Italy would cancel the loan of paintings agreed by Bonisoli’s (centrist) predecessor Dario Franceschini in 2017. The Louvre had asked for every painting owned by the Italian state except the Uffizi Gallery’s Adoration of the Magi (around 1482), which is too large to be moved. Paintings that were on the table included the Uffizi’s Annunciation (around 1472) and The Baptism of Christ (around 1475), the Vatican Museums’ Saint Jerome in the Wilderness (1480), as well as seminal drawings including the Vitruvian Man and studies of the battle of Anghiari from the Gallerie dell’Accademia.
In keeping with the League’s “Italians First” agenda, Borgonzoni told Italian newspaper Corriere della Sera that fulfilling the French museum’s request would “put Italy on the margins of a major cultural event.” Calling the agreement “unbelievable,” Borgonzoni opined, “Leonardo is Italian; he only died in France.”
While the important loans to the Louvre hinge on the consent of the current Italian government, officials at the French museum may be left squirming. A spokeswoman for the Louvre declined to comment on the situation to artnet News, and said it was too early to share a list of the artworks confirmed for the exhibition, which is slated to run October 24, 2019 through February 24, 2020.
The Louvre already has five Leonardo paintings in its own collection. But so far, the only loan it has reportedly managed to secure from Italy is Leonardo’s La Scapigliata (The Head of a Woman) (1508) from the National Gallery of Parma. These are expected to be joined by The Virgin of the Rocks (about 1491/2–9 and 1506–8), loaned by London’s National Gallery, along with drawings from the UK’s Royal Collection, among others.
Back to the Negotiating Table
Contacted by artnet News, the French ministry of culture gestured to an interview given by culture minister Franck Riester to the French weekly JDD, in which he is asked about his Italian counterpart’s comments. “Let’s set aside the polemics and come back to what is essential: highlighting the legacy of these great artists,” Riester said. “Two exhibitions showing masterpieces of humanity’s heritage must be mounted thanks to exchanges between France and Italy, one concerning Leonardo da Vinci at the Louvre, the other concerning Raphael in Rome.”
The minister was referring to the reciprocal agreement from the French state to loan unspecified works by Raphael to Rome’s Scuderie del Quirinale museum for an exhibition next year. “We will pursue the discussions in a peaceful manner,” Riester added. But in her interview with the Italian newspaper, Borgonzoni did not seem convinced that the agreement represented a fair trade. She argued that the majority of Raphael’s work is already in Italy, and said that she was unsatisfied that no specific Raphael works had been named as part of the initial deal.
Italy’s ministry of culture did not respond to requests for comment by press time. Eike Schmidt, the director of the Uffizi gallery in Florence, told journalists at the Foreign Press Association in Rome that no agreement to loan the Uffizi’s paintings was ever in place. “I am sure my French colleagues at the Louvre will support me when I apply the same rules to our Leonardo paintings that they apply to the Mona Lisa,” Schmidt said, adding that the possibility of sending drawings was still on the table. For the time being, however, the Italian state is taking care of the negotiations.
There may yet be hope for the Louvre’s top-billed show, however, as Borgonzoni told The Telegraph that Italy may be willing to renegotiate the terms of the loans. “Of course we are willing to sit at the table to discuss the Louvre’s wish list,” she said, “but in the spirit of reciprocal respect, which in past years has been missing.”
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