The neoclassical sculpture and monuments in the glyptotheca
of Catherine the Great span from Pushkin's earhest verses in 1814 to the final chapter of The Captain's Daughter, dated 19 October 1836.
He argues that these collections emerged at the heart of a modern aesthetic that touched Bourgeois and Bacon, if not somehow Messerschmidt too: "Once assembled and deciphered, they would become what the statues of Antiquity, the glyptotheca
, had been to Academic teaching: the foundation of a new Science, a science, not of the Beautiful but of the True." He is correct, but there is something yet more vital here than just a recounting of influences on influential artists.
The new (Ny) foundation, which sponsors art, was made as a rebellion by Carl Jacobsen, the son of the founder of the firm, against his father's fund that had been set up to foster science.(1) A glyptotheca
is a place for keeping sculpture and Jacobsen must have brought the stuff from Egypt, Italy and Greece by the boatload to make one of the most extensive collections in northern Europe (the more impressive because it was assembled late in the nineteenth century, after the French had looted and the British and Germans acquired so many of the treasures of the ancient world).