2020. Five hundredth anniversary of the death of the great Raffaello Sanzio.
“Raffaello and his friends from Urbino”, from 3 October 2019 to 19 January 2020 the great exhibition at the Palazzo Ducale in Urbino.
Raffaello, a genius who found in Urbino that “culture and culture environment” that allowed him to become what he was. In Urbino, and in the Marche, he breathed art from the very beginning, in the very active workshop of his father Giovanni Santi, above all. No less than the comparison with the artists committed to the Court of the Montefeltro and the Duchy, artists who approached him to the new winds that changed the century, between the fifteenth and the sixteenth centuries, revolutionized art in Italy and in Europe.
Raffaello and his friends from Urbino “(National Gallery of the Marche – Palazzo Ducale of Urbino, from 3 October 2019 to 19 January 2020) is promoted and organized by the Polo Museale delle Marche, directed by Peter Aufreiter, with the collaboration of the Municipality of Urbino and of the Marche Region, and is curated by Barbara Agosti and Silvia Ginzburg.
“Investigates and tells, for the first time in such a complete way, anticipates the Director Aufreiter, the world of Raffaello’s relations with a group of industrious artists in Urbino who accompanied, in dialogue but from different positions and stature, his transition to the modern manner and its stylistic developments during the memorable Roman season “.
The role played by the Umbrians Perugino and Luca Signorelli in the formation and in the first part of the activity of Raffaello is fundamental and in parallel of the more mature fellow citizens Girolamo Genga and Timoteo Viti, artists who had to intersect with the Florentine period and with the first times of presence Roman of Raffaello.
“It is moving from the common background, from the shared experiences, and from the comparison with the different reactions in front of analogous solicitations of figurative culture, which best highlights the exceptional” detachment “performed by the young Raffaello, and which means characters and limits of the path of contemporary Urbino artists at that time more connected, “underline the Curators of the exhibition.
“In the new dimension of school assumed by Raffaello during the reign of Leo X, the premises for the subsequent development of modern painting in the Duchy of Urbino are present, with the emergence of the personality of Raffaellino del Colle from the rib of Giulio Romano and above all with the moving tribute to Raffaellol’s formal and decorative models attempted by Genga in the aftermath of Raffaello’s death but in full continuity and contiguity with his magisterium ”.
“The exhibition is therefore – reiterate the Curators – an opportunity to measure, in a specific context of extreme importance such as the Urbino one and in its major stages, the great transformation that involved the Italian figurative culture in the passage between the fourteenth and the sixteenth century. To these scans they correspond, in the history graphic reflection constructed by Vasari and adopted by the later studies, the initial moment of the adhesion of the painters of the end of the XV century to the first novelties introduced by Leonardo, or to the adoption of that “sweetness in the united colors” , who began to use in his things the Bolognese France, and Pietro Perugino; and the people in seeing it ran, like crazy to this new and more alive beauty, seeming to them absolutely that it could never be better already ”.