Silvio Berlusconi, the late former Italian prime minister, left behind a vast art collection that has become a headache for his heirs. The collection, consisting of 25,000 paintings and sculptures, has been criticized by one of Italy’s leading art critics, Vittorio Sgarbi, who claims that the majority of the artworks are of poor quality and lack any significant value. The billionaire politician, known for his impulsive buying habits, acquired many of the pieces from late-night telesales programs.
The collection, stored in a 3,200sqm warehouse near Berlusconi’s mansion in Milan, includes paintings depicting Madonnas, vivid images of naked women, and cityscapes of Paris, Naples, and Venice. However, Sgarbi dismisses the collection as largely worthless, suggesting that only a handful of paintings out of the entire collection hold any artistic value. The estimated worth of the collection is around €20 million (£17.4 million), averaging at €800 per painting.
While the late prime minister also possessed higher-quality artworks by renowned artists such as Titian and Rembrandt, it is the vast assemblage of lesser-quality pieces that has become a burden for his descendants. Managing the extensive collection has proven to be expensive, with the warehouse costing approximately €800,000 a year to maintain. Additionally, the collection has suffered damage from woodworms, with the cost of extermination sometimes exceeding the value of the affected paintings.
Berlusconi’s art-buying habits reveal his preference for purchasing portraits of women to give as gifts to friends. Initially buying from galleries and dealers, he later turned to TV auctions as his main source of acquisition, fully aware that the items he was purchasing held little to no value.
The impact of this news is significant for Berlusconi’s heirs, who now face the challenges of managing and preserving a vast art collection that holds limited value. The financial burden of maintaining the warehouse and addressing pest damage highlights the costliness of inheriting such a collection. Additionally, the public criticism of the art’s quality by a prominent art critic diminishes the collection’s reputation and potential future value.
In broader society, this news raises questions about the evaluation and appreciation of art. It emphasizes the importance of art critics and their role in forming public opinions on artistic value. It also serves as a cautionary tale about impulsive buying and the potential consequences for future generations who inherit collections lacking inherent worth. The story sheds light on the impact of personal preferences and choices in shaping the legacy and financial burdens inherited by descendants.
While Berlusconi’s higher-quality artworks may still hold significant value, the dominant narrative revolves around the vast collection of lesser-quality pieces, which fail to meet artistic standards. The story warns art collectors and potential heirs to tread carefully when considering the long-term implications of acquiring vast collections that may lack artistic merit or financial value. It underlines the importance of thorough evaluation and consideration when engaging in art acquisition, ensuring that future generations are not burdened with a collection that proves to be more trouble than it’s worth.
