Corporate Art
The example of Museum Ritter in Waldenbuch is another chapter in the story of the well-rounded culture of production
This is the story of firms that give life to cultural spaces seen not only as tools in describing their activities, but also, and in some cases almost exclusively, as the expression of a culture of production woven into the business activity but opening onto much more. The examples abound, all united by the common thread of inspiration. At the same time, each is distinguished by the specific characteristics of the business that generated it. It is always good to learn about the history, development and current situation of these places. One story well worth reading is “Il Museo Ritter di Waldenbuch, Baden-Wurtemberg”, (Museum Ritter of Waldenbuch, Baden-Wurtemberg), an essay by Federica Maria Chiara Santagati (Università degli Studi di Catania) recently published in Mantua Humanistic Studies.
The study is a detailed description of the history and organisation of Museum Ritter, founded as home to the art collection of Marli Hoppe-Ritter, co-owner of Ritter Sport, in the chocolate industry since 1912.
Santagati’s work first describes the origin (somewhat recent) of Marli Hoppe-Ritter’s art collection before discussing the criteria with which it was built. The author then delves into the museum’s organisation (which also makes room for a series of learning activities) along with features of the building that houses the collection. It is precisely the context of the building itself that brings forth, with fitting restraint, the business origin of it all: next to the spaces created for the art collection, a company museum has also been built, dedicated more specifically to Ritter Sport and its business. Santagati then analyses the museum’s financing mechanism, based on the Marli Hoppe-Ritter-Stiftung zur Förderung der Kunst, a foundation linked to the firm, yet with project and operating autonomy. Each passage is amply illustrated by images.
Federica Maria Chiara Santagati’s research is interesting to read because it provides one more piece in a vast composition describing the multiple activities that illustrate corporate culture. The text is easy to read because it is well written.
Il Museo Ritter di Waldenbuch, Baden-Wurtemberg (Museum Ritter of Waldenbuch, Baden-Wurtemberg)
Federica Maria Chiara Santagati
in Mantua Humanistic Studies. Volume VI, 2019
The example of Museum Ritter in Waldenbuch is another chapter in the story of the well-rounded culture of production
This is the story of firms that give life to cultural spaces seen not only as tools in describing their activities, but also, and in some cases almost exclusively, as the expression of a culture of production woven into the business activity but opening onto much more. The examples abound, all united by the common thread of inspiration. At the same time, each is distinguished by the specific characteristics of the business that generated it. It is always good to learn about the history, development and current situation of these places. One story well worth reading is “Il Museo Ritter di Waldenbuch, Baden-Wurtemberg”, (Museum Ritter of Waldenbuch, Baden-Wurtemberg), an essay by Federica Maria Chiara Santagati (Università degli Studi di Catania) recently published in Mantua Humanistic Studies.
The study is a detailed description of the history and organisation of Museum Ritter, founded as home to the art collection of Marli Hoppe-Ritter, co-owner of Ritter Sport, in the chocolate industry since 1912.
Santagati’s work first describes the origin (somewhat recent) of Marli Hoppe-Ritter’s art collection before discussing the criteria with which it was built. The author then delves into the museum’s organisation (which also makes room for a series of learning activities) along with features of the building that houses the collection. It is precisely the context of the building itself that brings forth, with fitting restraint, the business origin of it all: next to the spaces created for the art collection, a company museum has also been built, dedicated more specifically to Ritter Sport and its business. Santagati then analyses the museum’s financing mechanism, based on the Marli Hoppe-Ritter-Stiftung zur Förderung der Kunst, a foundation linked to the firm, yet with project and operating autonomy. Each passage is amply illustrated by images.
Federica Maria Chiara Santagati’s research is interesting to read because it provides one more piece in a vast composition describing the multiple activities that illustrate corporate culture. The text is easy to read because it is well written.
Il Museo Ritter di Waldenbuch, Baden-Wurtemberg (Museum Ritter of Waldenbuch, Baden-Wurtemberg)
Federica Maria Chiara Santagati
in Mantua Humanistic Studies. Volume VI, 2019