| Raimondo Puccinelli | ||||||||||||||||||||||
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Sculptors have often shown a predilection for dance, for the artistic movements of the human body provide ample sculptural possibilities while at the same time presenting a series of challenges to the artist. Georg Kolbe achieved fame through his representation of a dancer (1912) and wrote to Clotilde von Derp after her 1916 guest appearance in Berlin: "Without doubt, you are the foremost German dancer. Yes, before today I would not have believed that such a female dancer could live and work here. I am so grateful to you. Have you seen my bronze"dancer" in the nearby National Gallery? I'm not asking because I think you might like When a sculptor such as Raymond / Raimondo Puccinelli marries a dancer, it is hardly surprising that that the body in motion should play a central role, not only in his sculpture, but also in his drawings and sketches. Despite many moves and a disastrous flood which swamped his Florence studio in the Piazza Donatello, 1,700 drawings and sketches survived in Puccinelli' estate. To be the first person to view such a treasure that has not been touched since the death of the artist, and possibly even for decades before, is an amazing moment in the life of an art lover. Taking possession of and subsequently dispersing such an estate through the art trade permits the sale of individual works to private collectors as well as diverse public museums. On the other hand, splitting up the collection in such a way considerably complicates research into the works and can affect the reputation of the artist detrimentally: exhibitions, books and other publications are difficult to realise if the oeuvre is widely dispersed and not openly accessible. It is even more problematical for academic research if instead of being enticed by the promise of an exhibition project, private owners have to be traced and convinced in order to study the "contents" in this case creative dance. Raimondo Puccinelli's family have a great affinity for dance. They would like to place a large portfolio of dance-related drawings together in one location, preferably one in which dance is held in reverence and is also a public place, welcoming to all pilgrims willing to spend their time contemplating and researching dance. There are many works that would be of great interest, particularly the ones which, either due to their attributions or to unmistakable portrayal, have made a concrete reference to named protagonists of creative dance: Martha Graham and company, Mary Wigman and dance group, Hanya Holm, Doris Humphrey, Harald Kreutzberg, Yvonne Georgi, Yeichi Nimura and others. The Deutsches Tanzarchiv Köln (German Dance Archives, Cologne) has been selected by the family to be the future, public resting place for these works. In view of the current lively interest from the USA in acquiring the whole estate, this would be a great advantage and would keep a selection of the most important and most beautiful dance drawings and sketches in Europe. In February 2008, Raimondo Puccinelli's family initiated a project to this purpose and is now searching for art-lovers to act as sponsors to the purpose of assisting the Deutsche Tanzarchiv Köln in acquiring and setting up a Puccinelli Collection. If the commitment of so many individuals is successful, then the Deutsche Tanzarchiv Köln in cooperation with the Institute of Italian Culture in Cologne will undertake to present a selection of drawings, complemented by some sculptures borrowed from other collections. The administration of this project has been kindly taken on in an honorary capacity by: Depot
Haus Grafenwald
List of the project's sponsors: 1)
Mr Bernhard Volkenhoff, Emsdetten |
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| English translation by Penelope Crowe | ||||||||||||||||||||||
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© SK Stiftung Kultur - Deutsches Tanzarchiv Köln |