Great exhibition on Naples at the Prado So in the 16th century the Spanish painters did the “Erasmus” in the Kingdom
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Art
NoonNovember 11, 2022 – 5:56 pm
The prestigious Madrid museum tells of the effervescence of the Neapolitan court
In March 2023 the exhibition moves to Capodimonte, partner of the itinerary
from Natasha Festa
.%20Pedro%20Machuca.%20Olio%20su%20pannello.%201517.%20Madrid,%20Museo%20Nacional%20del%20Prado-kPgC-U461001031055489WkF-1224x916@CorriereMezzogiorno-Web-Mezzogiorno-593x443.jpg?v=20221111175704 "Pedro Machuca, 1517, The Virgin and the souls in Purgatory, Madrid, Museo Nacional del Prado")
Pedro Machuca, 1517, The Virgin and the souls in Purgatory, Madrid, Museo Nacional del Prado
Anyone who had talent in the sixteenth century aspired to come to Italy to learn or steal art, observing the great masters in their Renaissance workshops. For the painters of the time, especially the Spanish ones, it was like doing an intensive Erasmus. And since the clients in the center-north were saturated due to the large offer, many came to Naples. Word of Andrea Zezza, curator of the important exhibition in progress at the Prado Museum in Madrid The other Renaissance. Spanish artists in Naples at the beginning of the sixteenth century. The professor of the Department of Arts and Cultural Heritage of the University of Campania, with Riccardo Naldi de L’Orientale and the collaboration of Manuel Arias of the Prado Museum, has chosen to tell a brief period of the Spanish Renaissance, from 1504 to 1535, a time segment in which Italian influences became prominent in the work of Bartolom Ordez, Diego de Siloe, Pedro Machuca and Alonso Berruguete. These are artists who had moved to Naples which has meanwhile become a lively laboratory for the reworking of models, innovations, ideas, experimentation. That is, it was the great port where everything arrives and can be reworked, one of the most fruitful scenes of the European Renaissance.
In March in Capodimonte
The exhibition, organized with the Capodimonte Museum, will remain at the Prado until 29 January and will move to Naples in March, in the rooms of the Reggia, where it will be inaugurated on 9 (until 25 June).
The exhibition therefore narrates the experience of Spanish painters and sculptors attracted to the Italian city that has just become the domain of the crown of Aragon, eager to impregnate their work with the teachings of the great masters of that era.
One of the most interesting pages in the history of art
The exhibition was inaugurated by the Vice President of the Spanish Government Yolanda Daz, by the directors of the Prado and Capodimonte Museums and by numerous Spanish and Italian authorities and cultural exponents. There was also the Italian Ambassador to Madrid, Riccardo Guariglia, who remembers: it was a great pride to inaugurate this exhibition which represents a further extraordinary testimony of the fruitful relationship between Naples and Spain. Naples is undoubtedly the Italian city most linked to Spain and this exhibition has the merit of analyzing one of the most interesting pages in the history of art. Naples was a particularly fertile ground for the elaboration of models that contributed to the definition, in the early sixteenth century, of a particular Iberian declination of the Renaissance with easily identifiable stylistic characteristics, yet linked to the great Italian masters. Certainly, this exhibition, a shining example of cultural diplomacy, contributes to deepen the historical-artistic ties between Italy and Spain, which are experiencing a phase of strong revival in the last period.
At the court of Alfonso the Magnanimous
The itinerary tells the Aragonese Naples to the Prado public, starting from that Castel Nuovo, the Maschio Angioino, which became a real Renaissance court and around which everything happened for centuries. The gallery of works develops the narrative over thirty years that reverberates in the pictorial and sculptural works that are anything but minor – we are in the era of Alfonso the Magnanimous – the nouvelle vague inaugurated in Rome by Michelangelo, Leonardo da Vinci and Raphael.
The director of the Prado: ONE of the most important exhibitions
one of the most important exhibitions of recent years because the Neapolitan season – said Miguel Falomir, director of the Prado – was a moment of great importance, although not sufficiently highlighted, for the Spanish Renaissance. The history of this period would be incomprehensible without taking into account the stay in Naples.
The city also offered a series of additional comforts, so to speak: It was more welcoming than Florence or Rome – explains Zezza – and there was much less competition in the face of so many churches and convents to work in.
These painters and sculptors, having learned the art, expressed their talent in scenarios such as the Convent of Santi Severino and Sossio and the Complex of Girolamini, almost all returned to Spain where they Italianized or Neapolitanized in works that now close the path of the exhibition.
November 11, 2022 | 17:56
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