LUCA SIGNORELLI AND ROME. OBLIVION AND REDISCOVERY
Until November, 3
Musei Capitolini, Sale Espositive di Palazzo Caffarelli – Piazza del Campidoglio, 1
Tel. 06 0608 | www.museicapitolini.org
As quicentenary of Raphael’s death approaches, Musei Capitolini, in the halls of Palazzo Caffarelli, pay tribute to Luca Signorelli. For the first time in Rome is celebrated one of the greatest protago-nists of the Italian Renaissance, whose high pictorial parabola was obscured only by the impon-derable arrival of two giants of the next generation: Michaelangelo (1475-1564) and Raphael (1483 -1520), both inspired by the master of Cortona in reaching that unsurpassable vertex of painting that his very contemporaries attributed to him.
Through a careful selection of about 60 works of great prestige, coming from Italian as well as foreign collections, the exhibition highlights the historical and artistic context of the Signorelli’s first roman sojourn, and offers new interpretations of the direct and indirect connections he estab-lished with the city.
The path, organized in seven sections, is introduced by Vasari’s erroneous interpretation of the artist’s true appearance, displaying different features in the busts by Pietro Tenerani and Pietro Pierantoni. Visitors are then taken into by Pope Sixtus IV (1471-1484) Rome, among the Capitoline Antiquities, to admire works by the Mater of Cortona portraying Roman monuments, Christian an-tiquities and classical statuary, including the Martyrdom of Saint Sebastian, the Christ on the Cross with Mary Magdalene, the Munich Tondo, and the Altarpiece of Arcevia.
The exhibition’s path then moves into Orvieto’s Cappella Nova, here carefully rendered by backlit reproductions, to display Signorelli’s masterpieces focused on the theme of grace and maternal love, including the Virgin and Child of the Metropolitan Museum of Art in New York and the pre-cious table owned by Princess Pallavicini.
Following, the sections dedicated to Signorelli’s Roman sojourn under Pope Leo X (1513-1521) pa-pacy, and his relations with Bramante and Michaelangelo. The exhibition is concluded by a chapter dedicated to the rediscovery of the Master between 19th and 20th century in art, literature as well as on the antiquarian market, with the Flagellation and the Madonna and Child Between Four Saints and Angels.