“Caterina Panciera Besarel (1867-1947) artista e imprenditrice dalla Val di Zoldo a Venezia” is the title of the catalogue of the exhibit of the Civic Museum of Belluno, on display from March 8-May 26, 2013, under the initiative of the Municipality of Belluno and the Angelini Foundation.
The catalogue, edited by Ester Cason, presents the graphical project of Evidenzia Immagine & Comunicazione, with artistic contributions by Milena Dean and historical contributions by Orietta Ceiner, director of the Historical Archives of the Municipality of Belluno and the Civic Museum. This book takes the reader through the sections of the exhibit:
• The Panciera Besarel family (interesting photos from the 1800s are included in the volume, along with the geneology of her family);
• Caterina and the atelier Besarel of Venice, affirmed workshop on the Grand Canal of Venice, visited by Queen Margaret and by numerous other notable historical figures, Italian and foreign, with whom her father, with Caterina’s help, kept tight correspondence (pieces of original correspondences are displayed in the exhibit);
• the international exposition and the concomitance of prestige, with the display of a prize received by Caterina for a work in clay, “la merlettaia”, at the World Columbian Exposition in commemoration of the four hundredth anniversary of the landing of Columbus 1892-1893;
• Caterina’s passion for the mountains and mountaineering: in this section, Caterina’s personality is brought to light, a strong woman and “giver of gifts”. She probably also transmitted to her children her passion for the mountains. Through her son Giovanni and her donation to the City of Belluno, Caterina also played a crucial role in the birth of the Angelini Foundation.
Reproductions of signed letters, documents and family photographs are contained in the catalogue, but most significantly, it includes colour photographs of the sculptures crafted by Caterina: “There are not many works signed by Caterina, but it is likely that her hand was involved in the casting of ornamental figures in the works of her father, like the cariatidi holding up the jewellery table of Queen Margaret in the palace of the Quirinale (1884), characterized by delicate execution and refinement of design”, and of other sculpted works initiated by her father and finished by Caterina after his death on December 11, 1902.