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THE HISTORY OF THE PROVINCIAL MUSEUMS
Provincial museums are managed by ERPAC. The heritage consists of real estate or palaces, archaeological finds, precious documents about our past, and all those paintings that represent our identity. The management of the treasury of the Gortians is then taken away from the citizens of Gorizia. Gorizia3.0 considers this the extreme hex for the city of Gorizia, its definitive disqualification in the B or C series of regional cities. Gorizia3.0 is fighting for the ownership and management of the provincial museums to remain in the hands of the Goritians and the institution that represents them, the City of Gorizia. Here's in pills, the history of provincial museums, to better understand what we're talking about.
ESTABLISHED IN 1861
The Provincial Museum of Gorizia was established in the session of April 17, 1861, of the Provincial Diet of the Counts Princes of Gorizia and Gradisca in the provincial palace of Piazza Duomo (the current police headquarters). The Provincial Museum of Gorizia was established in the session of 17 April 1861 of the Provincial Diet of the Counts Princes of Gorizia and Gradisca in the provincial palace of Piazza Duomo (the present police headquarters). Italy had just become a nation and Habsburg politics required culturally strong signals on the territories of the empire. Italy had just become a nation and Habsburg politics required culturally strong signals on the territories of the empire. The first approach was clearly Austrian, with a strong prevalence of natural sciences (flora, fauna, geology), but also a historical-archaeological section with a number of finds from Aquileia, St. Peter, St. Lucia, Medea. The first approach was clearly Austrian, with a strong prevalence of natural sciences (flora, fauna, geology), but also a historical-archaeological section with a certain number of finds from Aquileia, San Pietro, Santa Lucia, Medea. Subsequently, it is enriched with a diplomatic section - important the Della Bona fund, the basis of the future provincial archives - and a library. Subsequently, it is enriched with a diplomatic section - important the fund Della Bona, the basis of the future provincial archives - and a library. The figurative arts are poorly represented. The figurative arts are poorly represented.
GIOVANNI COSSAR FOUNDS THE CIVIC MUSEUM IN 1912
At the beginning of the 20th century, a character enters the scene that will have a great influence on the fate of the Museum and the city. It's from John Cossar. A patriot of Italian education, he attended the Academy of Fine Arts in Milan and also the Austrian Museum of Art and Industry in Vienna. He does not know German well and this will prevent him from holding the position of director of the historical-antiquarian section of the Provincial Museum (certainly not only this but also his patriotic feelings). Cossar finds the support of the National League and starts the project of establishing a Civic Dressing Museum. On the occasion of the summer festival of 28 June (?) 1908 the National League, under the pressure of the rosary, promotes a large exhibition to which all citizens had to contribute by bringing various objects perhaps important and significant for the culture of the city. The initiative is very successful. The Podesta of Gorizia gives a good example by offering two paintings, one of Caucig and one of Tominz. Other paintings are coming, signed Lichtenreiter, Paroli, Brass, Veruda. It is decided that this patrimony must remain united, a Curator is appointed and Cossar will say "I worked bloody hard to make this museum". Finally, on October 20, 1912, the Civic Museum was opened, which was opposed to the provincial one. The museum is located in the old town hall, on Town Hall 7. (The Echo of the Coast, Austrian wire, marked the collection as "a set of rubbish"). An accusation that often resonates in Gorizia to mark the initiatives of others, especially if successful. War breaks out. The Cossar has to enlist, but then he comes back and does everything he can to save the salvage. He also begins to collect war artefacts for war museum (it is a trend present all over Europe).
AFTER THE GREAT WAR: MUSEUM OF REDEMPTION
After the war, with Gorizia largely destroyed, the collections were merged together and formed at Palazzo Attems. The Museum of Redemption, which was inaugurated on June 8, 1924: it includes the Provincial Museum, the Civic Museum and even the Diocese Museum after the archbishop agreed that the goods should remain the property of the Archdiocese. Here Gopolis opens a dutiful parenthesis, evidently, at that time there was the awareness that the religious history of Gorizia was great, since the Diocese Museum, built with more than five billion Liras of the Jubilee 2000 and wanted by Father Bommarco, represented a historical fact for the town. Today, on this essential theme for Gorizia today the Archiepiscopal Curia is silent.
THE FUNDING BY GORITIAN ARTISTS
In 1927 Giovanni Cossar died and was succeeded by Ranieri Mario Cossar, his brother, who kept the management of the museum until 1938. In 1934 he died tragically in the Sea of Grado Sophronio Pocarini and some friends decided to create a section dedicated to him and contemporary art in the Museum. Three halls. Many artists from Gorizia offer their precious works. Practically on this occasion was born the Art Gallery of the twentieth century inside the Museum. In 1938 the 20th anniversary of the Victory was celebrated. The collections of history and art are separated from the Redemption Museum and transferred to the Formentini house in Borgo Castello. The rest becomes the Museum of War and Redemption at Palazzo Attems The style is that of the Twentieth Century: a strongly patriotic tone of the exaltation of War and Victory. In the month of September '
After the Second World War, the Museums became provincial again, at a time in history when Italy has a strong interest in maintaining a strong identity structure of what remains of the Venice Giulia and the Province of Gorizia. In the sixties, seventies and eighties, the dispersed collections were recovered and reordered. (New purchases involving works by Bolaffio, Morassi, Brass, Music). Above all, the philosophy of the Museum is radically rethought. The Museum of the Great War is transferred to the Dornberg and Tasso houses, as well as to the church that joins them, purchased by the Provinces in the early 1980s. "At that time," recalls De Grassi, "There was no director. The helm was in the hands of Gino Bradaschia. In 1981 we made, together with Count Coronini the first major exhibition Maria Theresa and the 1700s GorItian. Different. After the flood of 1982 devastating condemnations, here in 1985 the exhibition Vanguards on Futurism the acquisition of the Diaz Fund (fundamental to the Museum of the Great War) and the paintings of Spazzapan, also facilitated by the work of Cesare Devetag that had already acquired many with the contribution of the Gorizia Savings Bank. The provincial museums - concludes De Grassi - concern above all Gorizia in its role as the administrative capital of a territory more or less vast depending on the historical vicissitudes, but a cultural and historical reference point of that vast area that goes under the name of "Goritian". Then there are two tragic events, the floods of 1983 and 1987. The first flood is particularly disastrous and overwhelms the War Museum that was still at Thetems Palace on the ground floor. At this point, the Museum is transferred to Borgo Castello. It was not officially inaugurated on 16 June 1990 in the presence of the then Minister of Education Sergio Mattarella. The second flood was less disastrous. Under the direction of Maria Masau Dan, a policy of major purchases is launched. Hence the direction of the current Superintendent Raffaela Sgubin, to whom the creation of the Museum of Fashion and Applied Arts is due.
THE DOCUMENTARY FUND
The Provincial Museums of Gorizia also have a substantial documentary fund that - as read on the website of the Museums themselves - covers all administrative, political and military aspects of the county government, is collected in the fund Acts of provincial states ( 1500-1861), divided into two sections. The first section (years 1500-1754) collects documents related to the activity of the Goritian States from the passage of the County to the Habsburgs to the centralizing reorganization promoted by Maria Theresa. It is also known as the Morellian Collection: it was reordered between 1764 and 1765 by Carlo Morelli (1730-1792), who from this work drew inspiration and documentary material for his Istoria of the County of Gorizia, the work still fundamental to knowledge province in the modern age. The second section includes not only the Goritian documents from 1754 to 1861 but also the archive of the states of Gradisca County during the rule of the Eggenbergs (1647-1717). It also included the documentation of the Captain's Council of the United Counties of Gorizia and Gradisca and that of particular commissions, such as the Teresian one on the Austro-Veneto border (1750-1756) and the "Josephine" to the revision of the land registry ( 1785-1790). Rare medieval documents are found in the bottom Scrolls (1150-1929) and Scrolls of the "Savio Fonda Brothers Fund" (1326-1584).