How to Say in Italian Do You Have Any Pictures of Art Work You Created in Italy
So you lot want to publish an Italian piece of work of art?
Angelo Ripamonti, Interior of the Pinacoteca di Brera, 1880-90 – ©Pinacoteca di Brera, Milano
Whether you write about Fourteen century sculpture or well-nigh the history of measures, there may come a time when yous need an image of an Italian work of art for your publication.
Let's pretend for a moment that you want to avert motion-picture show libraries – a wise selection, if I may say and so – or that the work yous demand is not so famous equally to be in every commercial archive, that is extremely plausible.
At that place are a few important things you need to know before entering the realm of Italian bureaucracy.
Firstly, there is a huge difference between works that vest to the state and works that belong to the Catholic church building, no way to escape from this fateful legacy of the past.
In this article, I'll requite you a little groundwork and useful information to bargain with Italian museums. More than to come on archives and libraries.
Delight bear in heed that not all the collections are state-run, some institutions are run by municipalities, others by universities and others by foundations.
The first attempt to provide guidelines and a price list for the use of artworks' reproductions or, like some say, to generate revenues from licensing images, was a 1993 police on services for museums, archives and libraries.
It stated that no fee was due for personal (or study) use of the pictures – except for a reimbursement for the providing institution – and for the reproduction in scientific publications with less than 2000 copies and a price not over 150.000 lire.
It also set a difference between b/westward and color images. The last ones were costlier, due to the higher price of color films.
Speaking with an elderly archivist, a while ago, she explained to me that the color images were regarded every bit a luxury, while the b/w ones could suffice for bookish discourses. Cool as this reasoning is, it seems that it still permeates the field, equally color prints are however costlier for publishers. Thus, in this time of digital photography, ebooks and online journals, some institutions still maintain the difference between b/w and colour images and non just with respect to the price of the pictures, but for publication rights besides.
Federico Barocci, Portrait of a Young Lady, 1600 c. – Statens Museum for Kunst Copenhagen – CC0
A major change happened in 2014 when the new police force on cultural heritage granted permission to take photographs inside museums and use them even on personal social media accounts or on the internet for the promotion of Italian cultural heritage. All commercial uses of the pictures taken, all the same, are forbidden and yous still demand the authorization from the museum to publish them.
Libraries and athenaeum were not interested from the new constabulary until some years later. Thanks to the efforts of a group of scholars, finally, in 2017 the permission to freely take photographs was extended to libraries and athenaeum likewise. Therefore, today anyone can take pictures of works of art, documents or books without having to pay the institutions which host them. Reproduction services are still available for students and scholars who cannot visit in person.
Equally for reproduction rights, the majority of the institutions still follow the basic rules established in 1993. In order not to pay fees, a publication must have a print run of fewer than 2000 copies and a price not exceeding 70 (or 77) euros, an almost exact change of the sometime price in lire.
At that place are some exceptions, though. The 2014 law has given a "special autonomy" to some of the biggest and virtually important Italian country-run museums, such equally the Uffizi, Pompeii'southward archeological area, the Galleria Borghese and the Pinacoteca di Brera among others. The autonomy is scientific too equally financial and organisational and it can reflect itself on the licensing of images of the collections, leading to opposing choices and practices.
The Uffizi, ane of my clients' most required source of images, decided that a publication must have a apportionment of fewer than yard copies in guild to exist exempt from paying fees. A condition that many academic publications, with print-runs betwixt g and 2000 copies, don't meet.
It's impossible to know the revenue of image licensing for the Uffizi, as there isn't a specific voice in their yearly financial written report. An unofficial estimate, provided during a conference on artworks reproduction rights at the Law Faculty of Roma Tre Academy in 2018, was about 500.000 euros per twelvemonth.
Given the nature of this effigy, it is as well impossible to know how much the contribution of publishing, and more than specifically, of academic publishing amounts to. A await at the prices on their Rights and Reproductions page shows that advertising should become the panthera leo'southward share.
On the other mitt, the Pinacoteca di Brera, another autonomous establishment, dwelling to masterpieces by Andrea Mantegna, Raphael, Bellini brothers, Francesco Hayez and Caravaggio, chose to make high-resolution images of the works in their collection in the public domain freely bachelor on their website. They explicitly invite scholars and presses to use their pictures, retaining the right to ask payments merely for sure types of commercial uses, such as producing merchandising or advertisements with their images.
Carlo Crivelli, Mary Magdalene, 1480 c. – Rijksmuseum – CC0
The autonomous museums unremarkably have a website in English language, and though not all the websites testify information about reproductions on the homepage, or feature images of the collection, y'all should be able to observe a page addressing the affair.
Smaller, and not autonomous, country-run museums are grouped in 17 Direzioni territoriali (formerly Poli museali) one for each Italian region, except for Sicily, Trentino Alto Adige and Valle d'Aosta whose cultural institutions do not depend on the Cultural Heritage ministry. About of the times, the Direzioni territoriali are the competent institution to supply and license images.
Museums run by municipalities, foundations or universities follow their own rules with respect to image supply and reproduction rights. Thus it is difficult to draw a complete picture or to give indications well-nigh the prices. Some institutions utilize discounts or practise not accuse rights for scholarly publications anyway.
Due to this administrative fragmentation, Italian republic doesn't have a national paradigm library which can supply and license images of state-run museums. As French republic does, for example. And fifty-fifty if such a solution has sometimes been suggested or wished for, information technology would entail such a large and complex work that no one really believes information technology to exist feasible.
So, over the years, the Italian Cultural Heritage ministry appointed commercial flick libraries as exclusive agents for providing and licensing reproductions of its artworks. Like Scala Athenaeum, which began the collaboration with the ministry building in 2002.
The last ones of these agreements was signed with Bridgeman Images in 2018.
In an open letter, CISL Funzione Pubblica MIBACT, one of the ministry's employees unions, criticized the agreement, although the leadership of the ministry presented it every bit the best e'er achieved because of the l/50 split of the profits. (And one'due south left to wonder how much the ministry had earned from the previous ones).
The union pointed out that Bridgeman, an international business, would exist the beneficiary of the revenues of licensing images of the artworks kept in 439 Italian museums and sites. So basically of a remarkable role of the country's cultural heritage.
That the understanding lacks of transparency, since the version published on the website of the ministry doesn't disclose whatever details about the necessary arrangements to make information technology operative.
And that having as a partner a firm that has its headquarters in the Britain seems a bit risky with Brexit on the style and the possibility that the 2 countries will end up with dissimilar, and not harmonizable, copyright laws.
What I really would like to highlight here, with respect to this agreement, is that is very unlikely that Bridgeman (or any other picture library) would grant the prices and the benefits for scholarly publications that the museums usually grant.
Some Italian legal scholars too are disquisitional of the ministry'south choice of having private agents for licensing images. And not but considering of the loss of potential revenues. Though they're well enlightened that Italian copyright law protects strictly cultural heritage, then much so that the land can claim moral rights over artworks, they're sympathetic towards open access and the opportunities that a greater spread of the Italian cultural heritage can bring to the state.
Marina Cotugno
Source: https://www.juliafoto.it/so-you-want-to-publish-an-italian-work-of-art/
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