Caravaggio 2025: Masterpieces Reunite at Palazzo Barberini in Rome

Rome’s Palazzo Barberini, a National Gallery of ancient art, is currently hosting teh highly anticipated exhibition, Caravaggio 2025. This retrospective showcases 24 masterpieces either created by or attributed to Michelangelo Merisi (1571-1610), the Italian painter known as Caravaggio. The exhibit, now open to the public, solidifies Caravaggio’s place as a true superstar in art history, drawing critically crucial international attention and promising a deep dive into the artist’s tumultuous life and groundbreaking work. The exhibition includes important loans from both Italian and international institutions,making it a rare prospect to see so manny of Caravaggio’s works in one place.

The exhibition at Palazzo Barberini promises a complete look at Caravaggio’s artistic journey, highlighting his innovative techniques and dramatic use of light and shadow. The collection includes significant loans from both Italian and international institutions, making it a rare opportunity to see so many of Caravaggio’s works in one place.

Portrait of Maffeo Barberini: A Caravaggio Never Seen Before

The opening of Caravaggio 2025 was preceded by considerable buzz, including the unveiling of a Caravaggio never seen – the Portrait of Maffeo Barberini. This oil painting, one of the few remaining in private hands, is currently the subject of acquisition discussions by the Italian state. The anthological exhibition officially opened to the press on March 6 and was inaugurated in the afternoon by Minister of Culture alessandro Giuli, alongside the exhibition’s three curators: Thomas Clement Salomon, director of the national galleries of ancient art; francesca Cappelletti, director of the Borghese gallery; and Maria Cristina Terzaghi, art historian from Roma Tre University.

The unveiling of the Portrait of Maffeo Barberini adds a layer of intrigue to the exhibition. Its presence offers a unique glimpse into Caravaggio’s portraiture, a less explored facet of his artistic repertoire. The potential acquisition by the Italian state underscores the painting’s meaning and its importance to Italy’s cultural heritage.

Twenty-Four Works (Plus One)

The exhibition features twenty-four works, mirroring the number of Caravaggio paintings displayed at the Scuderie del Quirinale in 2010 during the last major Roman monographic exhibition dedicated to Merisi. Though, Caravaggio 2025 offers an additional, unique opportunity: throughout the exhibition’s duration, which runs until July 6, visitors can admire a twenty-fifth work, normally inaccessible to the public. This is the Jupiter, Neptune and Pluto, the only wall painting executed by a young Caravaggio in 1597 inside the Casino dell’Aurora of Villa Ludovisi. At the time, the villa belonged to Cardinal Francesco Maria del Monte, the artist’s first and most passionate patron.

The inclusion of Jupiter,Neptune and Pluto provides invaluable context to Caravaggio’s early career. this fresco, created when the artist was just beginning to make a name for himself, showcases his versatility and his ability to adapt his style to different mediums and formats. Its limited accessibility makes it a must-see for any serious Caravaggio enthusiast.

Rome: The City of Caravaggio

Rome, where the Lombard painter spent a significant portion of his short and intense life, is home to numerous Caravaggio masterpieces. In addition to the works featured in the exhibition, other notable paintings can be found in the churches of San Luigi dei Francesi, Sant’Agostino, and Santa Maria del Popolo, as well as in the Vatican Museums, the Capitoline, and the Doria Pamphilj Gallery.Considering that the official catalog of Caravaggio’s works ranges from 40 to just over 60 pieces (with some art historians attributing up to 100), the one that is offered to the painting system today is a unique opportunity to admire a very high concentration of the author’s works.

Rome’s deep connection to Caravaggio’s life and work makes it the ideal location for this retrospective.The city’s churches and galleries serve as permanent homes for many of his most iconic paintings, allowing visitors to experience his art in the very spaces for which it was originally created. This exhibition complements these existing collections, offering a more comprehensive understanding of Caravaggio’s artistic progress and his lasting impact on the art world.

Roman, Italian, and International Loans

the exhibition features loans from various sources, including Rome on rome pieces, works from other Italian cities, and contributions from foreign museums. Highlights include the Flagellation of Christ from Naples’ Capodimonte museum, the Cena in Emmaus from Milan’s Brera, and the Capture of Christ in the Garden from the National Gallery of Dublin. The Borghese Gallery, which houses the largest collection of Caravaggio paintings in the world (six in total), has lent three of its Merisi works: the Sick Bacchino, San Giovanni (compared with two other versions of the same subject from the Corsini Gallery and Kansas City), and David with goliath’s Head. Palazzo Barberini, along with its own Judith Beheading Holofernes and St. Francis, has also included the very discussed Narciso, a majestic work whose attribution remains debated.

The diverse range of loans underscores the international significance of Caravaggio’s work. The inclusion of pieces from different collections allows for a comparative analysis of his style and technique, highlighting the nuances and variations in his artistic expression. The debated attribution of Narciso adds an element of scholarly discussion to the exhibition, inviting visitors to engage with the ongoing debates surrounding Caravaggio’s oeuvre.

Caravaggio’s Masterpieces Reunite at Palazzo Barberini

Rome is currently hosting a remarkable exhibition at Palazzo Barberini, bringing together some of Caravaggio’s most celebrated works from across the globe. Among the highlights are The Musicians, on loan from the Metropolitan Museum of Art in New York, and Santa Caterina from the Thyssen-bornemisza Museum in Madrid. These masterpieces, along with other significant pieces, offer a unique opportunity to explore Caravaggio’s genius and the stories behind his art. The exhibition provides a deep dive into the artist’s life, his patrons, and the historical context of his creations.

The exhibition at Palazzo Barberini offers a rare chance to witness a reunion of Caravaggio’s seminal works, tracing their journeys through history and across continents. The collection not only highlights the artist’s innovative techniques but also sheds light on the complex web of patronage,ownership,and historical events that shaped the fate of these masterpieces.

Eros (and self-portrait?): “The Musicians” From the Metropolitan of New York

A highlight of the exhibition is The Musicians, a captivating piece arriving from the Metropolitan Museum of Art in New York. This artwork once graced the Capitoline Pinacoteca before finding its place in the collection of the refined and worldly Cardinal del Monte, who also housed the restless artist in his home, now known as the Madama building, home of the Senate of the Republic. The Musicians depicts four ephebic male figures, with a young, naked Eros with wings and a farra. Some art historians suggest one of the figures in the background is a self-portrait of Caravaggio, while another bears the features of the then 16-year-old Mario Minniti, an intimate friend and roommate of the artist.

The presence of the Musicians at Palazzo Barberini provides a unique opportunity to study Caravaggio’s early style and his exploration of themes such as music, love, and male beauty. The painting’s ambiguous narrative and the potential self-portrait add layers of intrigue, inviting viewers to delve deeper into the artist’s psyche and his relationships.

return Home for the Santa Caterina of Thyssen-Bornemisza

Adding to the allure of the exhibition is Santa Caterina, on loan from the Thyssen-Bornemisza Museum of Madrid. This canvas also belonged to Cardinal del Monte. Also featured is I bari from the Kimbell Art Museum of Fort Worth, Texas. This masterpiece acts as a pendant to Good fortune.

In Three Paintings the Face (Perhaps) of the Courtesan Fillide Melandroni

The exhibition also explores caravaggio’s relationship with Fillide Melandroni, a Roman courtesan who is believed to have been the model for several of his paintings. Her likeness is perhaps captured in three works featured in the exhibition, offering a glimpse into the artist’s personal life and his interactions with the vibrant Roman society of his time.

The “Ecce Homo” lost and Found in Madrid

Adding to the excitement surrounding the exhibition is the inclusion of the Ecce Homo, a painting that was once lost and has now been rediscovered in Madrid. This work provides further insight into Caravaggio’s mastery of depicting human emotion and his ability to capture the drama of biblical scenes.

The Unpublished Comparison Between the Two “Maffeo barberini”

A unique aspect of Caravaggio 2025 is the opportunity to compare two versions of the Maffeo Barberini portrait, offering scholars and art enthusiasts a chance to analyze the nuances of Caravaggio’s technique and his evolving style. This unpublished comparison promises to shed new light on the artist’s creative process and his relationship with his patrons.

The “Martyrdom of Sant’orsola,” the Last Caravaggio

The exhibition culminates with the inclusion of The Martyrdom of Sant’orsola, believed to be caravaggio’s last painting. This powerful and emotionally charged work serves as a poignant reminder of the artist’s turbulent life and his enduring legacy.

Conclusion

Caravaggio 2025 at Palazzo Barberini offers an unparalleled opportunity to experience the genius of Michelangelo Merisi. With a carefully curated selection of masterpieces, including a never-before-seen portrait and a rarely accessible fresco, the exhibition promises to be a landmark event in the art world. Visitors to Rome between now and July 6 will have the chance to immerse themselves in the dramatic world of Caravaggio, gaining a deeper appreciation for his innovative techniques and his enduring legacy.

Caravaggio Exhibition at Palazzo Barberini Showcases Masterpieces and New Discoveries

Rome’s Palazzo Barberini is set to host a major Caravaggio exhibition, opening March 6, 2025, promising an unprecedented look into the life and works of the Baroque master. The exhibition features approximately 25 works, including the recently rediscovered “Ecce Homo,” bought by a private individual for around 35 million euros after nearly being auctioned for a mere 1,500 euros. This retrospective brings together masterpieces from across the globe, offering a unique opportunity to witness Caravaggio’s genius and delve into the stories behind his iconic creations. The exhibition runs through an unspecified date and is expected to draw significant international attention.

The exhibition at Palazzo Barberini offers a comprehensive exploration of Caravaggio’s artistic journey, from his early works to his final, emotionally charged paintings. Key highlights include the return of “Santa Caterina” to Italian soil after nearly a century and a close comparison of portraits of Maffeo Barberini, the future Pope Urban VIII. The exhibition also features “The Martyrdom of Sant’Orsola,” believed to be Caravaggio’s last painting, completed in Naples just before his death in 1610.

“Santa Caterina” Returns to Italy After Nearly a Century

One of the exhibition’s highlights is the return of “Santa Caterina” to Italy after nearly a century. The painting once belonged to Antonio Barberini, whose descendants sold it at the end of the nineteenth century. The masterpiece left Italy in 1934, estimated at only 30,000 lire, by decision of the government of Benito Mussolini, who with a specific law allowed the dispersion of most of the noble collection hitherto subjected to a guarantee.

The return of “Santa Caterina” to Italian soil after nearly a century is a poignant moment, underscoring the complex history of art ownership and the enduring cultural significance of Caravaggio’s work. The painting’s depiction of Saint Catherine, a symbol of wisdom and courage, resonates with the historical context of its creation and its subsequent journey through various collections.

In Three Paintings the Face (perhaps) of the Courtesan Fillide Melandroni

The loan of “Santa Caterina” also allows for a close comparison of all three works in which Caravaggio almost certainly used the same model: the “Santa Caterina” of Thyssen, the “Giuditta that cuts the head into Oloferne” of Palazzo Barberini, and the “Maddalena (with Marta)” from the Detroit Institute of Art. The face is almost certainly the same. The hypothesis suggests that Fillide Melandroni, a prostitute and famous courtesan of the time, posed for these paintings. Fillide was linked to Ranuccio Tomassoni, the man Caravaggio killed in May 1606, and was portrayed by Merisi in a painting belonging to the Marquis Giustiniani, purchased in 1815 by the king of Prussia and destroyed at the end of the last world conflict, during the fire of the Flaktorm Friedrichshain, Berlin 1945. This work is known only one color photography, trace of a possible similarity between the effigy (lost), Caterina, Giuditta and Maddalena.

The potential presence of Fillide Melandroni in multiple Caravaggio paintings adds a layer of intrigue to the exhibition, blurring the lines between art and life. The story of Fillide, her connection to Caravaggio, and her involvement in the events surrounding Tomassoni’s death offer a glimpse into the vibrant and often turbulent world of 17th-century Rome.

The “Ecce Homo” Lost and Found in Madrid

Palazzo Barberini also showcases the legendary “Ecce homo,” attributed to Caravaggio. this artwork was bought by a private individual for around 35 million euros, after it was about to go to auction in 2021 with an estimate of 1,500 euros, attributed to an unknown author of the school of Jusepe de Ribera. A documentary, “The Lost Caravaggio,” co-produced in Italy by Fandango and directed by Álvaro Longoria, will be released in cinemas in conjunction with the exhibition from March 10 to 12.

The rediscovery and attribution of “Ecce Homo” to Caravaggio is a testament to the enduring power of art historical research and the potential for lost masterpieces to resurface. The painting’s dramatic depiction of Christ’s suffering and its tumultuous journey from obscurity to international acclaim make it a compelling addition to the exhibition.

The Unpublished Comparison Between the Two “Maffeo Barberini”

Another highlight of the exhibition is a close comparison between two portraits of Maffeo Barberini, the future Pope Urban VIII. One portrait, from a private collection (the state is dealing with the purchase), has been exhibited since last November and attributed to Caravaggio. The other, owned by the Corsini principles of Florence, comes from the Roman palace to the four fountains but has sometimes been attributed to Scipione Pulzone. Also from a private collection, that of the Roman family Odescalchi, arrives the “Saul conversion,” the first version of the same subject who finds himself in the Cerasi chapel of Santa Maria del Popolo.

The juxtaposition of these two portraits of Maffeo Barberini offers a fascinating insight into the relationship between the artist and his patron, and also the evolution of barberini’s image as he ascended the ranks of the catholic Church. The presence of the “Saul Conversion” further enriches the exhibition, showcasing Caravaggio’s mastery of religious themes and his innovative use of light and shadow.

The “Martyrdom of Sant’orsola,” the Last Caravaggio

The exhibition includes the “Boy who Worlds a Fruit,” a youthful work from the British royal collections; the “Portrait of the Knight of Malta” kept at Palazzo Pitti; and the poignant “Martyrdom of Sant’Orsola” of the Intesa Sanpaolo collection (Gallerie d’italia, Naples). Commissioned by Marco Antonio doria in honor of his stepdaughter Anna Grimaldi, a nun in Naples with the name of Orsola, it is indeed probably the last painting performed by Caravaggio, in Naples, just before his last, fatal return journey to Rome, in 1610.

The inclusion of “The Martyrdom of Sant’Orsola” provides a powerful conclusion to the exhibition, showcasing Caravaggio’s final artistic statement. The painting’s raw emotion and dramatic composition reflect the artist’s turbulent life and his unwavering commitment to capturing the human experience on canvas.

The Caravaggio exhibition at Palazzo Barberini, open as of March 6, 2025, promises an unforgettable journey through the world of one of art history’s most influential figures. With masterpieces gathered from across the globe, the exhibition offers a unique opportunity to witness the genius of Caravaggio and to delve into the stories behind his iconic works.

For more details, visit barberinicorsini.org.

March 6, 2025 (modification on March 6, 2025 | 23:00)

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