Vittorio Sgarbi returns to Milan to present a major new exhibition that illustrates the birth of the genius Caravaggio. Reconstructing his artistic training, from Simone Peterzano to the Veneto and Lombard masters, this fascinating show examines the precursors and contemporaries of Michelangelo Merisi (1571-1610), highlighting the works that the artist would actually have seen and what he would have witnessed in the artistic climate that dominated the area from Venice to Milan before he moved to Rome, which according to the most recent studies was likely to have been around 1595-96.
Curated by Vittorio Sgarbi, the exhibition “The Eyes of Caravaggio. His Formative Years between Venice and Milan” is produced and organised by Arthemisia Group in collaboration with the Museo Diocesano di Milano, promoted by Regione Lombardia and staged thanks to the vital support of Banca Popolare di Milano and Terna.
The exhibition gathers around sixty masterpieces by the greatest painters of the day, which will be exhibited in the Museo Diocesano from 11 March to 3 July 2011.
Works by Giorgione, Titian, Tintoretto, Lorenzo Lotto, Jacopo da Bassano, Moretto da Brescia, Giovan Battista Moroni, Gerolamo Savoldo, Vincenzo and Antonio Campi, Giovanni Ambrogio Figino, Simone Peterzano, and many more, some of which have never been exhibited before, document the formation of a groundbreaking aesthetic and an innovative conception of the human figure and its relationship with space and light, which was fundamental to the development of the young Merisi.
Naturally Caravaggio himself could not left out, and the exhibition includes some extremely significant works. One of these is the so-called “Murtola Medusa”, the first version of the famous shield in the Uffizi Galleries, which takes its name from the poet who wrote a poem about it in 1600.
This work, which has always belonged to a private collection, was created by Caravaggio in 1596 and can be viewed as emblematic of his formative years, in particular due to the underdrawing which was brought to light by recent indepth scientific investigations. The same techniques have been used to date the shield to between 1596 and 1597, the period when Caravaggio moved to Rome. Conceptually speaking, in this way the Murtola Medusa closes the painter’s Lombard period and opens the Roman one, when, as Vittorio Sgarbi recalls: “he suddenly transformed everything, to the point that the shockwaves of his revolution reached the whole of Europe, and there was not one great painter who did not come from France, Spain, Germany and the Netherlands to see what Caravaggio had done”….. READ MORE ON THE OFFICIAL SITE