Postcards from Naples, Italy: Palazzo adapted to showcase contemporary art

Mimmo Paladino, 2006 rooftop installation at MADRE

The 19th-century Palazzo Donnaregina, referred to as “an example of historical stratification,” was purchased in 2005 by the Campania Regional Government for rehabilitation as a contemporary art museum. Much of the work was completed under the guidance of Alvaro Siza Veira, a Portuguese architect. By 2006, two floors of MADRE – Museo d’Arte Contemporanea Donnaregina – opened to the public. Daniel Buren’s brightly colored and illuminated installation in the entryway of MADRE sets the tone for the contemporary contents.

When we were there this past fall, there was an impressive exhibition of work, “Whisper Only To You,” by a South Korean artist, Yeesookyung. During her residency in Naples, she incorporated pieces of Capodimonte porcelain into the design of her large shapely vessels.

The master potter was trying to create the perfect piece each time, and he would discard even the ones with the slightest flaw. So I chose to create new forms from them, because perhaps, I don’t believe completely in that kind of perfection. To me, a piece of broken ceramic finds another piece, and they come to rely on one another. The cracks between them symbolise the wound.

Yeesookyung, interviewed in The Business Times, 2013

Postcard from Naples, Italy: Glamming up the royal residence

While Pope Sixtus V (1521-1590) kept architect Domenico Fontana (1543-1607) well occupied around the Vatican and Rome, he managed to take on a project for the Viceroy in Naples. The excuse for the construction of the palace was an impending visit by King Philip III of Spain (confusingly known as Philip II in his role as King of Naples, Sicily and Sardinia) (1578-1621). But, alas, when the king did not make it to Naples as planned, rather than let it go to waste, the Viceroy himself move into the grand new quarters.

A new royal arrived in town in 1734, King Charles III of Spain (adding to the confusion, prior to becoming King of Spain in 1759, he was known as Charles VII of Naples and Charles V of Sicily) (1716-1788). By the time King Charles arrived, the palace was empty of residents and devoid of furniture. While waiting for suitable decorating, the new arrivals temporarily were forced to furnish it with contents bought from the pawnshop and private citizens.

King Charles III immediately put architects and artists to work. With his marriage to Maria Amalia of Saxony (1724-1760), decorating assumed a sense of urgency. To take care of royal needs, a porcelain factory was founded, which later became known as Capodimonte porcelain. Receiving an abundant supply of art from his mother, Elizabeth Farnese (1692-1766), the Queen of Spain, Charles was able to transfer it from family palaces in Parma and Rome to Naples. One palace, however, is hardly enough to accommodate royal needs, so two more were built which the blog will visit later.

His son, Ferdinand I as King of the Two Sicilies (Ferdinand IV as King of Naples or Ferdinand III and King of Sicily) (1751-1825), begin to take beautifying the palace to even higher levels. Arranged by his father, King Charles, Ferdinand’s proxy marriage to 16-year-old Maria Carolina of Austria (1752-1814) spurred further gilding and flocking throughout. The grand hall was remodeled to serve as a court theatre.

By the time his grandson, Ferdinand II (1810-1859), became King of the Two Sicilies, the whole palace was viewed as in need of a major renovation. This was partially due to a fire in 1837 and partially to accommodate modern services and systems for lighting, water-delivery, sewage and so forth.

Finally in 1888, King Umberto I of Italy (of the House of Savoy) (1844-1900) altered the façade of the building addressing the grand Piazza del Plebiscito. Large statues of major rulers of Naples were commissioned for the new niches.

Addicted to writing with access to two computer screens displaying a multitude of resources, I was most impressed by an early innovative predecessor – sort of a ferris wheel for books to aid research from multiple tomes at one’s desk.