Forging authenticity
Giovanni Bastianini and the Neo-Renaissance in Nineteenth-Century Florence

Giovanni Bastianini, arguably the most gifted Florentine imitator of Italian Renaissance sculpture during the 19th century, became the subject of controversy that continues to this day. While exploring the dichotomy between his pseudo-Renaissance and his contemporary ‘period’ style, Moskowitz places him firmly within the economic, political and cultural context of the Risorgimento. Both Europeans and Americans, eager to imbibe the atmosphere of a lost Golden Age, formed a ready market that encouraged the production of neo-Renaissance art.

• 04/10/2013 | Giornale dell'Arte (Il)
• 20/10/2014 | Nineteenth-Century Art Worldwide 2-2014
• 04/07/2014 | Renaissance Quarterly n. 67.2

Anita Fiderer Moskowitz
Anita Moskowitz, Professor Emerita at Stony Brook University, has lectured and published widely on Italian Gothic and Renaissance sculpture, and issues of forgery and imitations. Her books include The Sculpture of Andrea and Nino Pisano, Nicola Pisano’s Arca di San Domenico and its Legacy, Italian Gothic Sculpture c. 1250-c. 1400, Nicola and Giovanni Pisano Pulpits, and The Façade Reliefs of Orvieto Cathedral. Moskowitz has been the recipient of a fellowship from the Villa I Tatti (the Harvard University Center for Renaissance Studies) and three NEH fellowships. In 2003 she was a Visiting Senior Fellow at the Center for advanced Study in the Visual Arts at the National Gallery in Washington D.C. where she began research on Giovanni Bastianini.

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