Relationships and Collecting: The Madden Collection

Curated by Kit Bernal, Madden Fellow 2019-21

Every collector has a unique way of approaching and acquiring work. Founder of the Madden Collection John Madden has always been influenced by an element of spontaneity and a reliance on relationships, whether with dealers, other collectors, or artists themselves. Understanding relationships as paramount to the Madden Collection contextualizes the diversity and selection of works, as well as the process of collecting overall. Based on a series of interviews with Mr. Madden himself, each work in this exhibition was acquired directly as a result of a personal relationship with an artist, collector, or dealer, and represents the breadth of the Madden Collection.

Robert Rauschenberg, American, 1925-2008, topher (Rumination Series), 1999, Intaglio print, The Madden Collection at the University of Denver, 2016.1.137i

John Madden became acquainted with esteemed artist Robert Rauschenberg (whom he called “Bob”) while spending time on Captiva Island in Florida. topher is one part of the Ruminations series, which focuses on relationships that were important to Rauschenberg. The Madden Collection holds the entirety of the series; other works from Ruminations can be seen in the Main Gallery.

Francesco Gioli, Italian, 1846-1922, Il Capo Caccia (The Huntsman), 1883, Oil paint on canvas, The Madden Collection at the University of Denver, 2016.1.27

Many of the works in the Madden Collection come from Florence, Italy, where John and Marjorie Madden spent a significant amount of time. While there, they made connections with the locals, notably a woman named Beatrici who introduced him to other Florence residents looking to sell art from their private art collections. Il Capo Caccia was purchased under the guidance of Beatrici and is an excellent example of the Italian and Macchiaioli works that make up a large part of the Madden Collection.

Emilio Martelli, Italian, 1913-2000, The Birth of Venus (after Sandro Botticelli), 1985, Scagliola on panel, Collection of the John Madden Company

Martelli received permission from the Uffizi Gallery in Florence to reproduce two Botticelli paintings seen at the Madden Museum. Mr. Madden is adamant he is not interested in copies, so it is important that the Botticelli reproductions were created in the scagliola method. Scagliola requires artistic and technical skill to build up layers of plaster made from selenite, then cut with pigments and glues, and finally polished to a high sheen. The unique method and the appealing subject matter gained Martelli the two commissions from Mr. Madden.