By continuing, you accept the Terms and Conditions and T&C Fundraising, confirm that you have read the Privacy and Cookie Policy and create your account.
By continuing, you accept the Terms and Conditions and T&C Fundraising, confirm that you have read the Privacy and Cookie Policy and create your account.
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The artsupp.com website is a multilingual platform dedicated to the promotion of cultural institutions. The contents of the Site and the rights related to them are reserved, therefore they can be consulted exclusively for personal information purposes, any other use being expressly prohibited without the prior written consent of artsupp.com.
The company Restart S.r.l., with registered office in Rome in viale Angelico n.101, registered in the Register of Companies under no. RM - 1450606, tax code and VAT number no. 13481941006, is the owner of the platform called Artsupp - reachable at the web address 'https://www.artsupp.com'.
This regulation contains the rules governing the relations between Restart S.r.l. its Partners and supporting users of the Platform. The provision of services by Restart s.r.l. through the Artsupp platform in favor of the Partner who wants to propose a fundraiser (hereinafter: Partner) is subject to the following terms and conditions.
After registering and completing the profile in all its sections, the Partner can use the Site to publish their fundraising project, according to the methods described below.
The Partner undertakes to keep the access credentials and to prepare backups of all the content uploaded. For this reason, the Partner exonerates Artsupp from any responsibility in this regard. Artsupp is authorized to keep browsing logs in accordance with its current Privacy Policy and to suspend the account in case of misuse of the pages.
During the fundraising phase, the Partner will come into possession of information such as name, surname, e-mail address, of each individual Supporter. The Partner, by accepting these Terms of Use, indemnifies Restart srl, as owner and manager of the artsupp.com platform, from any violation, or improper use, of such data and information, or where they are used for purposes unrelated and / or illegal with respect to the "Terms and Conditions" and the "Fundraising Terms and Conditions", assuming full civil and criminal liability deriving from illegal and improper use of such information.
The Partner is solely responsible for the project, files, images and content published and its realization and expressly exonerates Artsupp from any responsibility in relation to the legitimacy, correctness, cost-effectiveness, convenience and execution of the Project itself and this circumstance will be given. evidence on the site by means of the appropriate wording. The Partner undertakes to send Artsupp files, images and / or videos of which it is the owner of the relative rights of use, relieving Artsupp from any third party claims regarding the use and content of said files, images and / or videos. The partner also undertakes to send virus-free files, images and / or videos, and in any case not such as to compromise in any way the hardware or software of the portal or of those who view or download them.
By "project" we mean any activity that aims to enhance and / or improve the cultural offer and services offered to the public by the institution. Any activity that positively affects the cultural offer is eligible:
By way of non-exhaustive, we report some categories of projects admitted by the Platform:
In any case, Artsupp reserves the right to refuse the publication of the Project or to suspend the campaign, in any case in which the products or services offered by the Partner are not compatible with the image or reputation and ethics of Artsupp.
The Partner raises Restart S.r.l. from any responsibility on the project both in the design phase and in the construction phase, committing to respect what is reported in the project description with regard to objectives and timing, also guaranteeing Restart S.r.l. and to supporting users that what has been declared corresponds to the truth and in particular that the project has been drawn up by specialized subjects.
The Partner can choose from the following fundraising models:
Fundraising without a minimum economic objective and a defined time limit.
The Partner is entitled to the payment of the sums collected, net of the Payment Commissions specified below and of a commission in favor of Artsupp equal to 5% including VAT of each payment.
The Supporter proceeds to provide the loan through the payment services offered and managed entirely by STRIPE Inc. (or any other payment service manager chosen by Artsupp), through its own platforms, which constitute market standards. In this regard, therefore, the Partner exonerates Artsupp from any responsibility in this regard. For each payment made, STRIPE Inc. retains a commission for the management of the payment service (referred to above as Payment Commission), in accordance with its own policies and contractual conditions. Therefore the Partner receives the sums disbursed by the supporters net of this commission. The costs of the payment system are established exclusively by the manager and, using credit cards and current accounts located within the Euro area, are generally the following:
(Euro area): 1.4% + € 0.25 for each donation received
(non-Euro area): 2.9% + 0.25 € for each donation received
For further details see: https://stripe.com/it/pricing
Restart srl, through the artsupp.com platform, is in no case responsible for the transaction costs applied by the payment system operators, nor for the possible variations that such costs could undergo over time, limiting its action to providing adequate information to users. of the platform regarding such possible variations.
Furthermore, in cases where the Artsupp service is subject to a fee, STRIPE Inc. also retains this amount on each payment made by the Supporters, and reverses it in favor of Artsupp. In this case, therefore, the Partner receives the sums disbursed by the supporters net of the payment commission and the commission due to Artsupp:
- Artsupp Fee for "Fundraising" projects: 5% VAT included;
Commissions are payable on each donation. Both STRIPE and Artsupp will issue the due accounting documents relating to collections and made out to the beneficiary of the service, as required by law.
Any accounting, fiscal and administrative fulfillment inherent in the subscriptions received is the sole responsibility and responsibility of the Partner, who will therefore promptly provide for invoicing, declarations, certifications and anything else required by current legislation.
Artsupp reserves the right to modify, without prior notice, the layout, graphics, dimensions, colors of the Site and of the pages in which the Project is presented. It also reserves the right to insert, add, modify and in any case completely freely manage the spaces of these pages, adding, removing, overlapping information, communications, advertisements, images, banners and any other content it deems appropriate.
The Partner remains the exclusive owner of what is published on the platform in its reference section. Artsupp may use the means at its disposal, online and offline, the information, the contents disseminated and the data relating to everything that will be published on www.artsupp.com in order to promote and advertise the platform and the Partners. This contract is subject to Italian jurisdiction and, in the event of disputes, the competent court is that of Rome. Roma, Rome, February 2022
The website artsupp.com is an online multilingual platform dedicated to the promotion of cultural institutions. The site content and its rights are reserved and can be referred to only for personal information. Any improper use of the site information without prior consent of artsupp.com is strictly forbidden. Restart S.R.L is a company based in Rome, Viale Angelico n.101, registered on the Registro delle Imprese with number RM – 1450606. Tax reference and VAT number 13481941006 and owns Artsupp, available online at http://www.artsupp.com. The guidelines below include norms regulating relationships between Restart S.R.L, its customers and those visiting the platform Artsupp.
Arstupp Visitor: he who visits the various webpages on Artsupp.
Artsupp User: he who freely subscribe to the platform Artsupp.
Artsupp Partner: any cultural institution having the requisites whose identity is verified upon joining the platform Artsupp.
A Visitor becomes User once he fills out the registration form with personal data (username/email/password), or accessing through their Facebook account. The User pledges to provide information to Artsupp which is true and accurate, and to update it thereafter in their most current form. Every User is responsible for his own account and for all activities carried out from it; every User is responsible for keeping his credentials secrete and not to share them with other Users. In so doing, the User waives Artsupp from any responsibility in the matter.
Any permanent or temporary cultural institution that, according to its own identity, manages and preserves historical heritage for the benefit of the public can be a Partner on the platform Artsupp. Artsupp reserves the rights to assess the appropriateness of all subscription requests.
Every institutions meeting the above requirement can become a partner after providing to Artsupp all necessary information to verify their identity. The following contents are also required for the creation of the Institution pages on Artsupp:
1. Institutional Name;
2. Description of the Institution;
3. Location;
4. Opening hours;
5. Website;
6. Avatar;
7. Profile Image of video;
8. Images showing the spaces;
9. Images from the collection;
10. Taglines for the images shown (author, name of the work, date, technique);
11. Press release for current exhibitions or future events.
All information included in the profile must be accurate, complete and truthful. Once the required information has been provided, Artsupp will take the necessary time to verify its appropriateness and will proceed to activate the online space reserved to the Partner
Each Partner will be able to access the following pages:
Info: this section is aimed at highlighting the spaces of the Institution. A short description of the Institution together with images of its spaces and information around opening times will be included, along with the official link to the Institution website.
Events calendar: this section is for the Institution to share calendar of future events and cultural programs.
Collection: a brief overview of the works part of the collection. In cases where the Partner does not have a permanent collection, images of the works temporarily exposed will be uploaded.
Contents published on the Profile are public and will be visible online. The Partner Institution pledges to submit files, images and/or video material of its own property, waiving any responsibility of publishing copyrighted material without prior consent from Artsupp. Likewise, the Partner pledges to submit material not corrupted by virus or in such format as to guarantee no damage to the hardware or software of the portal or of those who will visualise it or download it.
Artsupp offers to its Partners a free web portal developed with the aim of boosting their interaction with the public of the arts and of cultural institutions. All tools of the Platform aimed at marketing and communication are managed autonomously by Artsupp depending on its needs and objectives. Artsupp offers to the individual Partners visibility on the platform, committing to communicate to its own Users with the available means the activity and the content of the Partners’ cultural offer. Artsupp cannot guarantee that the content of individual Partners will have equal visibility to its Users. It is beyond the control of Artsupp to verify in advance the possible results of the online search, the order of pages or the corresponding content. Artsupp cannot be held responsible from the Users or third parties for what will come out of the web search. Partners remain exclusive owners of what published on the platform in their dedicated section. Artsupp will be able to use with the available means, online and offline, the information, the content and the data made public on www.artsupp.com with the aim of advertising and promoting the platform and the Partners. In order to protect the image rights of Individual Partners Artsupp won’t allow the content of the Platform to be available to download. Information included in the website is published in good faith of its authenticity and truthfulness. Artsupp, notwithstanding its dedication to maintain the website in good order and the information therein reliable and up to date, declines any responsibility for direct or indirect damage resulting from incorrect information having been included on the platform, particularly in those circumstances where information included might be interpreted by the Users as a foundation for decisions on initiative of economic or financial nature.
Artsupp is committed to maintain its Platform as secure as possible. It is necessary that Users contribute to the security of the Platform by ensuring that: No unauthorized commercial communication (e.g. spam) is included on Artsupp.com; No information is asked from other Users; No access to Artsupp is made through automated tools (e.g. robots, spiders or scrapers) without previous authorization from Artsupp; No virus or other damaging codes are uploaded; No access information is requested from other Users and no attempt to access other Users’ accounts is made; No denigration or derogatory language is used against other Users; Artsupp is not used for illegal, deceptive, discriminatory or derogatory purposes; No action that might hinder the correct functioning or the aspect of Artsupp is carried out (e.g. negation of the service or any action that might disturb or interfere with the pages rendering or other functions of Artsupp); No attempt is made to favour the disobedience to the above guidelines. Artsupp reserves the right to delete the Accounts of those Users who do not respect these guidelines.
The website contains hyperlinks to third party websites. The existence of such links does not imply that artsupp.com sponsors or is affiliated with the subjects owners of these pages. Artsupp.com declines any responsibility in regard to the content of the linked websites and advises Users that connection to such links happens at their own risk and is beyond the control of Artsupp. Artsupp advises Users to take all precautions against viruses or other potentially harming elements. Artsupp is not responsible for other sites’ content.
All material published on Artsupp is under copyright of Artsupp.com or third parties. In this regard, we remind Users that the Legge sul Diritto D’Autore forbids unauthorised reproduction and public dissemination (also through file sharing) of works under copyright. It is therefore prohibited to upload online or to exchange works without prior authorization from the authors. The above Law regulates sanctions for the non-compliant. Those found to contravene the above regulation will be prosecuted according to the Law. Likewise, Users should notify Artsupp of copyrights to give Artsupp the possibility to verify them. The present contract is subject to the Italian jurisdiction and the Roman court of justice is the most competent one, should controversies arise.. Rome, February 2018
Pisanello is the last exponent of that very elegant culture of the courts known as international Gothic or late Gothic. An itinerant artist between Verona and Venice, Mantua and Milan, Rome and Naples, he was long in the service of Leonello d'Este, the cultured marquis of Ferrara. The portrait of Carrara was perhaps painted on the occasion of the famous painting competition between Jacopo Bellini and Pisanello in 1441. The profile setting recalls the model of ancient medals, but the characteristic features of the face are investigated with precision. Leonello's thick hair, the brocade of the dress and the herbarium flowers of the rose garden are described in detail, through the soft and melted brushstroke typical of the artist's refined and profane taste.
A promising young man in the Padua of Donatello and Squarcione, Andrea Mantegna soon became one of the most famous artists of his time, a dominance confirmed by his definitive move to Mantua to the Gonzaga court. The Madonna and Child is a work of the artist's maturity, probably executed in the years in which the painter was working on the Triumphs of Caesar . This austere and at the same time moving image of motherhood prefigures the future sacrifice of Christ on the cross: the red coral bracelet worn by the Child and the distant gaze, veiled in melancholy, of the Virgin allude to it. The muted colors of the work are the result of Mantegna's adoption of his favorite tempera technique, which he uses by spreading thin glazes on a very fine linen canvas.
The panel belongs to that small group of paintings that can undoubtedly be attributed to the master's hand. Mary and Jesus are caught in a moment of tenderness, with the Mother trying to hold the Child still, whose bold pose recalls the works of Mantegna. The Virgin's gaze , however, is melancholic and meditative, as if she were foreseeing the future sacrifice of her Son, who moves restlessly on a pink marble balustrade, perhaps anticipating the stone of anointing on which he will be placed before burial. The clear brightness that bathes the two figures brings to mind the Venetian works of Antonello da Messina, but the precious execution, with the gold used to highlight the lapis lazuli blue of Mary's dress, recalls the Byzantine origins of the Venetian pictorial tradition.
Introduced by his father to the profession of goldsmith and by Filippo Lippi to that of a painter, at the age of twenty-five Botticelli already ran his own workshop in Florence whose most prestigious clients were members of the Medici family. In this panel the artist passes down to posterity the image of Giuliano de' Medici, younger brother of Lorenzo the Magnificent and a skilled knight, murdered on 26 April 1478 in Florence during the Pazzi Conspiracy. To denounce and remember his death Lorenzo had a medal minted by the family sculptor, Bertoldo di Giovanni. A marble bust was made from the funeral mask which Botticelli used as a model for the painting, of which three versions are known: this one from Carrara - perhaps the oldest, although probably unfinished - and two others kept in Berlin and Washington.
It is one of the first paintings made by Titian and shows how the young artist developed the research of Bellini and Giorgione on the expressive power of colour. The group of the Madonna and Child is immersed in a vast natural landscape and presents a new and surprising monumentality, while a warm and melted pictorial material defines the forms not through drawing but through large chromatic fields.
In the context of Venetian Renaissance painting, Palma the Elder is first and foremost the author of solemn Sacred Conversations set in the natural landscape and of sensual female figures. These two types of room paintings were especially widespread in Venice, but the contribution of the artist from Bergamo was fundamental to their success. In the Carrara painting, Palma takes the traditional scheme of the Sacred Conversation from Bellini; however, here the figures are not isolated from each other, they do not sit in silence meditating on the Holy Scriptures, but communicate animatedly with each other. Also new is the monumentality of the Virgin and Magdalene, which in their luxuriant beauty recall the florid half-length female figures protagonists of numerous subsequent works by the artist.
The painting is a masterpiece of Moroni's old age and the result of in-depth research into this portraiture scheme. The Dante's chair on which the elderly gentleman sits is placed slightly diagonally, so as to effectively convey the sense of depth. The man is wearing a fur-lined overcoat and grips the armrest with his right hand, while in his left he holds a small book: he has just stopped reading and turns proudly towards us, staring at us with a questioning look. The wide backdrop increases the psychological intensity of the portrait, played on a selected range of greys, browns and blacks. The character depicted has not yet been identified, but it has been suggested that Pietro Spino, a scholar and historian originally from Albino, is recognized as the artist.
Fra Galgario's workshop was frequented by young people eager to learn the secrets of the trade; in fact, a good number of his paintings portray boys with whom the artist seems to have a certain familiarity. Often these models are dressed in a bizarre way, with extravagantly styled clothes and hats , or they pose like painters, like the young man portrayed in the Carrara canvas, which is one of the masterpieces of this particular production. The bold attitude of the young painter, who proudly rests his left hand on his hip and holds the straw with chalk in his right, and the innocence of his gaze give us the image of a living person. The material quality of the colors and the famous lacquers used by Fra Galgario make this painting an emblem of his painting.
Canaletto is the most famous of the Venetian landscape artists and his views of Venice have contributed to consecrating the myth of the Serenissima. Not only did he accurately record the topographical reality of the city in his paintings, but through careful observation of light he was also able to convey an imperturbable and eternal image of eighteenth-century Venice. Canaletto shoots the Grand Canal through a shot that had been codified by Luca Carlevarijs in a famous canvas, but adopts a wider and more dilated construction of the scene, indicative of his training and his initial commitment as a set designer. In the foreground on the left you can see the façade of Palazzo Balbi, on the right you can recognize the Erizzo, Contarini and Mocenigo palaces, while the Rialto bridge can just be glimpsed in the distance.
Tiepolo dominated eighteenth-century Venetian and European painting with his monumental altarpieces, refined paintings of mythological subjects and above all with his imposing fresco decorations, which stand out for their extraordinary inventive streak and surprising liveliness and chromatic lightness. . According to a typical practice of the seventeenth and eighteenth century pictorial tradition, Tiepolo established the general lines of his compositions in sketches to be submitted to clients for preliminary approval. These small paintings also fueled a thriving collector's market, made up of amateurs who appreciated in them the freshness of the first idea and the most immediate testimony of the master's hand. The Carrara canvas is a sketch of the altarpiece created by Tiepolo for the Bergamo Cathedral in 1743.
Francesco Hayez is the greatest exponent of Romanticism painting in Italy. His fame is entrusted to his paintings of historical subjects, often full of patriotic meanings or alluding to the Italian political situation; but the portraits and sensual female figures also aroused great enthusiasm. The canvas - commissioned by Antonio Frizzoni, member of a family active in Bergamo in the textile sector - depicts the culminating episode of a very popular story in the early nineteenth century: Giorgio Cornaro informs his sister Caterina, queen of Cyprus, that the Republic of Venice has decided to dismiss her and announces her future confinement in the castle of Asolo. The scene, constructed through a calibrated study of the light and the poses of the characters, has a highly theatrical tone, typical of Hayez's painting.
Gaetano Previati is, with Segantini and Pellizza da Volpedo, one of the protagonists of Italian Divisionism and among the most sensitive interpreters of symbolist themes. The painting belongs to the painter's first season, linked to the late-romantic taste and Scapigliatura, which precedes the conversion to the technique of color division. The story of Paolo and Francesca - narrated by Dante and widely exploited by the nineteenth-century figurative repertoire - is not depicted in a didactic way: Previati aspires to paint emotions and ideas. From the claustrophobic horizontal format, occupied by the figures of the two unhappy lovers, lying on their deathbed and pierced by the same sword, emerges a vigorous and dark image, which stands out for its melodramatic emphasis and exasperated naturalism.
Pellizza da Volpedo is especially known as the author of the Fourth Estate, a symbolic painting of late nineteenth-century Italian painting and an icon of modernity. The synthesis of the painter's formative experiences is Memory of a Sorrow , which the artist gave to Carrara as a sign of gratitude for the teachings he received from Cesare Tallone in Bergamo between 1888 and 1890. The meaning of the work goes beyond the choice of theme of the reader, very widespread at the time: in the lucid gaze of the Volpedese Santina Negri the painter expresses the pain for the disappearance of his sister Antonietta, who died in October 1889. The setting of the portrait derives from Tallone, while the construction of the space for planes of bright colour, spread in large fields, recalls the painting of the Macchiaioli.
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