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Tatters and Poignancies

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Abstract

The history of museums may be likened to the labyrinthine twists and turns of evolution itself. Accept that by the time we arrive at, say, Rome’s resplendent Galleria Doria Pamphilj, we cannot help but meditate upon the anomalies of the human presence as expressed within the multitudes of artistic artifacts of self-reference—objects of passing devotion (even in The Eternal City that is Rome) whose creators are no less impermanent than the paintings and relics of their devotion. Such ensembles of energy and inspiration are, themselves, exhibits to all that we strive to understand, overcome, even outlive—against biological odds impossible to calculate.

Keywords

  • Galleria Doria Pamphilj
  • Rome
  • Diego Velázquez
  • Pope Innocent X
  • Museum history

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  • DOI: 10.1007/978-3-030-64526-7_16
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Fig. 16.1
Fig. 16.2

Notes

  1. 1.

    Signed and dated, “R. Mutt, 1917” by Duchamp in 1950. See “A 7-Hour, 6-Mile, Round-the-Museum Tour of the Prado,” by Andrew Ferren, The New York Times, March 18, 2019; See also, “Marcel Duchamp and the Fountain Scandal,” Philadelphia Museum of Art, March 27, 2017, https://press.philamuseum.org/marcel-duchamp-and-the-fountain-scandal. Accessed March 19, 2019.

  2. 2.

    Amongst the legion of tourist guides that lavish details upon such matters, see, for example, http://walksinsideitaly.com/walk/2018/07/21/palazzo-doria-pamphilj-a-private-mansion-in-the-heart-of-rome. Accessed March 18, 2019.

  3. 3.

    See http://www.doriapamphilj.it/roma/en/la-galleria-doria-pamphilj. Accessed March 18, 2019.

  4. 4.

    See Collezione Doria Pamphilj – Catalogo generale dei dipinti, by Andrea G. De Marchi, SilvanaEditoriale, Editorial Director Dario Cimorelli, Art Director Giacomo Merli, Milano 2016, pp. 450–455.

  5. 5.

    See main Galleria website, http://www.doriapamphilj.it/roma/en/la-galleria-doria-pamphilj. Accessed March 20, 2019.

  6. 6.

    See all paintings listed as on display: http://www.doriapamphilj.it/roma/en/tutte-le-opere-esposte-doria-pamphilj. Accessed March 20, 2019.

  7. 7.

    Goldstein, Richard, Desperate Hours: The Epic Rescue of the Andrea Doria. John Wiley & Sons, New York, 2003.

  8. 8.

    See Landscape into Art, by Kenneth Clark, John Murray, London, 1949, Chapter Four “Ideal Landscape,” pp. 54–73.

  9. 9.

    See, for example, https://opusdei.org/en-us/article/life-of-mary-x-flight-into-egypt. Accessed March 20, 2019.

  10. 10.

    See Paula Findlen, Possessing Nature: Museums, Collecting, and Scientific Culture in Early Modern Italy, University of California Press, Berkeley, CA, 1994.

  11. 11.

    See the Kew Gardens site on Wallich at, https://web.archive.org/web/20120112235432/http://www.kew.org/collections/wallich/index.htm, Accessed March 20, 2019.

  12. 12.

    See American Eden – David Hosack, Botany, and Medicine in the Garden of the Early Republic, by Victoria Johnson, Liveright Publishing Corporation, a Division of W. W. Norton & Company, New York, 2018.

  13. 13.

    See Museums.EU, http://museums.eu/highlight/details/105317/the-worlds-oldest-museums, Accessed March 20, 2019.

  14. 14.

    See Bailey’s The Sound of a Wild Snail Eating, Algonquin Books Of Chapel Hill, North Carolina, 2010, p. 108.

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Tobias, M.C., Morrison, J.G. (2021). Tatters and Poignancies. In: On the Nature of Ecological Paradox. Springer, Cham. https://doi.org/10.1007/978-3-030-64526-7_16

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