Innocenzo Fraccaroli e la figura femminile come allegoria politica. Documenti provenienti dall’Archivio Felicina Fraccaroli Bonizzoli
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Innocenzo Fraccaroli (1805-1882) was an excellent artist, who alternated periods of fame and success, related to his masterpiece Wounded Achilles to moments of disillusion and difficulties. The research focus aims primary at understanding how, but mostly why, such a prominent artist, and in general all the 19th century sculpture, has been almost completely forgotten and suffered a general lack of respect. Only from the 80s we have assisted to a re-evaluation of such an important chapter of Italian art. Fraccaroli’s work has been brought back to general attention thanks to the important exhibition hosted at the GAM (Milan 2017) but even more by the first monographic study by Giulia Mori, which has been made possible through the examination of Fraccaroli’s personal documents stored at the Biblioteca Civica in Verona. From the private Archivio Felicina Fraccaroli Bonizzoli, new photographic materials have been found which made it possible for the first time to have a visual evidence of artworks that were known before only through a verbal description. The 19th century has been a tough, but extremely significant period, for art, sculpture in particular. It marked the transaction between Neoclassicism and Romanticism. The period saw the rise of the new bourgeoisie, with their tastes giving room to a stream of new commissions; the years of the Italian Risorgimento with the new artists’ generation spurred to give a visual representation of the birth of new Italian State. Fraccaroli is an emblematic figure of that century, an extremely talented artist considered out of fashion.
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