The collection of metadata was coordinated and supervised by Maria Pia Donato (CNRS) and Serenella Rolfi Ožvald (Università Roma Tre). D’Annunzio Chieti-Pescara, and Università della Svizzera Italiana. The metadata for ‘Lettere d’Artista’ was collated by the research group Lettresart funded by the École française de Rome in collaboration with the Institut d’Histoire Moderne et Contemporaine, Università Roma Tre, Università di Macerata, Università G. Artists’ letters provide a unique source to capture such transformations and the changing social status and self-fashioning of artists from skilful artisans into fully fledged intellectuals. Rome offers a unique vantage point, therefore, to investigate the transformations that occurred during this period in the art market and artistic networks, as well as in patterns of patronage and artists’ education and training. Artists from all over Europe and the Americas sojourned in the Eternal City for longer or shorter periods (indeed, some arrived and chose never to leave) they came into contact with each other and with a vibrant transnational community of connoisseurs, dealers, and grand-tourists, while remaining in touch with their family, amateur artists, and patrons back home. In the late-eighteenth and early nineteenth centuries, a truly cosmopolitan ‘Republic of the Arts’ took form across political and cultural borders. Rome et l’Europe 1750–1850’ investigates the changing contours of the European art world through the correspondences of the artists living and working in Rome in the period spanning from 1750 to 1850. Roma e l’Europa 1750–1850′ / ‘Lettres d’Artiste. ![]() ![]() Roma e l’Europa 1750–1850/Lettres d’Artiste. ![]() (Courtesy of Yale Center for British Art, Print and Drawings collection, Paul Mellon Collection, New Haven) 'Artists' Letters. Brenchly, Maidstone, Kent, by James Jefferys.
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