Exhibition: Rome at the time of Caravaggio 1600-1630

Roma al tempo di Caravaggio 1600-1630
November 16, 2011 – February 5, 2012
Rome, Palazzo Venezia

Caravaggio was an absolute genius of painting that has overshadowed all the artists of his time. But who were his companions on the road? The exhibition “Rome at the time of Caravaggio 1600-1630” (Palazzo Venezia, 16 November 2011 – February 5, 2012 planning and scientific care of Rossella Vodret, scenic design by Pier Luigi Pizzi) answers this question by reconstructing for the first time, through the ‘exhibition of approximately 140 paintings from the major Italian and foreign museums, some never exhibited before in Italy, the connective tissue of the art scene of the Eternal City where he lived and worked the great Lombard genius.

The exhibition looks at what can be called a crucial moment of Italian painting, who was born in the late sixteenth century in a Rome that was still in crisis because of the traumatic Lutheran schism and developed, with increasing force, through the reign of four major Popes Clement VIII Aldobrandini, Pope Paul V Borghese, Pope Gregory XV Ludovisi Urban VIII Barberini. This unique moment lasted about thirty years, from 1600 to 1630 and the events that occurred in that period largely depended the European artistic development which lasted until the late seventeenth century.

The early years of the seventeenth century are marked by confrontation and direct connection between two giants of Italian painting: the Bolognese Annibale Carracci, the undisputed leader of the current classicist, and Caravaggio of  Lombardy, the creator of a revolutionary form of representation of reality.
Both disappeared exactly one year apart: July 15, 1609 Hannibal, 18 July 1610 Caravaggio. The relationship between the two artists is evident at the beginning of the exhibition from turning between their respective versions of the Madonna of Loreto made ​​in the same year.
The comparison of the two paintings, never confronted before, is of fundamental importance for the scientific exhibition.
The exhibition continues and operates through a number of sections in which they are taken into account both the target public works (altarpieces and paintings related to places of worship) and paintings made ​​on commission for private use of the majors maecenas of that time. 

In later years the stimulating foundations established by the two masters were collected and developed by both classicists bolognese painters – represented in the exhibition by artists such as Domenichino, Lanfranco, Guido Reni, Albani – who followed Annibale in papal city, both by those who have done precisely the dramatic naturalism of Caravaggio, as evidenced by the paintings of Orazio and Artemisia Gentileschi, Carlo Saraceni, Horace Borgianni and Bartolomeo Manfredi.
The latter became a skilled forger of works by Caravaggio, so that immediately after the escape fromRome of the great genius ofLombardy (1606) many works of Manfred were sold as original by Caravaggio.

The two currents dominated the Roman art scene of the second decade and were continuously modified and enriched not only by continuous mutual influences and weaves, but also through extensive trade with many painters of Tuscany, Emilia, Genoa, Lombardy, and especially the exuberant crowd of foreigners – French, Flemish and Spanish – in Rome at that time, including Valentin, Vouet, Honthorst, Rubens, Ribera.

The works chosen for the exhibition have been selected to give the widest possible view of the complex events that marked the beginning of 600 of the Roman artistic environment. Along with works from museums and private collections.

Sant'Agostino - Caravaggio?

For the occasion is exceptional shown for the first time inItaly the St. Augustine, recently attributed to Caravaggio and the subject of lively debate. To this painting will be dedicated to a day of study, which will bring together the protagonists of the controversy.

 The exhibition is under the patronage of the President of the Republic, is promoted by the Superintendence for the Historical Art and the Museums of the City of Rome, with the support of the Rome Foundation – Art – Museums, with the contribution of the Banca Etruria and Ericsson and the organizational support of Civita and Munus.

PALAZZO VENEZIA
Via del Plebiscito, 118 – 00186 ROME
Tel: 0039 06 69994388
       0039 06 69994284 – 5 (Secretariat, Mon-Fri h. 9-14)
Fax: 0039 06 69994394

HOURS
Tuesday / Sunday 8:30 to 19:30
closed on Mondays
The ticket office closes at 18.30, tel. 0039 06 6780131

Admission Ticket

Full € 4.00

Reduced € 2.00
(European Union citizens between 18 and 25 years)

Free:
EU citizens under 18 and seniors over 65

The National Museum Palazzo Venezia is part of the circuit of the Roma Pass

HOW TO GET THERE
Metro Line B: Colosseo
Bus: line H, 30, 40, 60, 62, 63, 64, 70, 81, 85, 87, 95, 119, 160, 170, 175, 186, 271, 492, 571, 628, 630, 716, 810 , 850.

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