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Published online by Cambridge University Press: 02 April 2024
Among all the possible choices of “objects” for collection, that of works of art is the richest in meaning. In this paper we propose to discover if this ages-old activity may be understood as a historical phenomenon or only interpreted as one of the expressions man may give of his relationship with the universe of artistic works.
1 We give only a few examples from the list of intermediaries, merchants and bargain hunters: Grimm and Diderot for Catherine of Russia; Luigi Crespi, son of the artist Giuseppe Maria, who mediated in the purchases of the Elector of Saxe and Cardinal Corsini; Bottari, librarian for the same prelate, procured drawings for Mariette.
2 This characteristic is found again in the 18th century, in Bonnier de la Mosson, for example.
3 The collection of engravings, the search for complete series bearing the succes sive "states" of printing are a limited case here.
4 We do not forget that there are more secret collectors, jealous of their treasures but in my opinion they are not characteristic.
5 "It is He who must become greater while it is I who must efface myself."
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