Italian
The exhibition Baroque. The Great Theater of Ideas in the halls of the Museo Civico San Domenico brings together over 200 works by masters of the seventeenth century such as Gian Lorenzo Bernini, Francesco Borromini, Caravaggio, Guido Reni, the Carracci, Rubens, Van Dyck, Artemisia and Orazio Gentileschi, Pietro da Cortona until the next 28th of June.
But it doesn’t end here. After delving deeply and from multiple perspectives into a century that is both exuberant and elusive, the exhibition explores its connections to a more recent time, particularly the influences exerted on the great artists of the twentieth century, from Umberto Boccioni to Giorgio De Chirico, from Lucio Fontana to Francis Bacon. Many prestigious lenders are involved: alongside Palazzo Barberini, the Albertina in Vienna, the Prado in Madrid, the Vatican Museums, the Uffizi Galleries, and the Capodimonte Museum.
Conceived and created by the Fondazione Cassa dei Risparmi di Forlì in collaboration with the Municipality of Forlì, the exhibition aims to be a journey through the ideas and images that shaped the Baroque, highlighting the relationship between art, power, faith, science, and society in one of the most complex and fascinating periods of European history.
The exhibition project, divided into twelve sections, takes place within the Church of San Giacomo and the large halls that constituted the library of the Convent, bringing to Forlì masterpieces from the most important national and international institutions.
Many collateral events related to the exhibition have been organized to explore the various themes connected to this vast topic. For example, the cultural association “San Mercuriale” has organized a series of conferences from April 14 to 18 in various locations around the city, titled: The Baroque: the Revolution of Knowledge and Beauty, which address Art, Science and Philosophy, Theology, Literature, and Music, thus attempting to compose the kaleidoscope of the complexity of the Baroque.
For such a pervasive cultural movement in our cities in its various dimensions, an exhibition alone would not be enough to describe it. But certainly, this endeavor that seeks to tell a century of splendor and revolution has succeeded in its aim, so much so that when visitors leave the exhibition, they feel as if they have taken a journey through history marked by wonder.
Once again, the bet of the San Domenico Museum has been won. From the cultural gamble that began in 2002 to becoming an exhibition model, making Forlì a city of art, as so far 5000 works of art have been hosted in various exhibitions and nearly 2 million visitors have been welcomed.
If Rome is at the center and the beginning of this remarkable season, with its spread and the change in the international political landscape, especially in the second half of the seventeenth century, its outcomes and influence will characterize the language and culture of the new European courts. In fact, between the end of the sixteenth century and the beginning of the seventeenth century, Rome attracts the best artistic talents, the elites of intellectuals, the exalted spirits of the new religious orders, in the climate of political and religious reorganization promoted by the Catholic Reformation and the Counter-Reformation after the Council of Trent.
Art is at the center of the papacy’s reconquest of Christianity. It is its expressive language. And what will later be derogatorily called Baroque, emphasizing its irregularity, eccentricity, extravagance, is its symbolic hallmark.
To fully understand its genesis (and this is the intent of the exhibition), it is necessary to start from comparisons that range from representations in the Hellenistic period to the restless spatiality of late Mannerism, up to the extreme realism of Caravaggio permeated by an inner atmosphere that prefigures the “senses of mysticism.”
Finally, during the twentieth century, a renewed critical and historical attention will mark the end of the traditional negative reading of the Baroque, re-evaluating it as a moment of extraordinary cultural and formal complexity.
The exhibition Baroque. The Great Theater of Ideas in the halls of the Museo Civico San Domenico brings together over 200 works by masters of the seventeenth century such as Gian Lorenzo Bernini, Francesco Borromini, Caravaggio, Guido Reni, the Carracci, Rubens, Van Dyck, Artemisia and Orazio Gentileschi, Pietro da Cortona until the next 28th of June.
But it doesn’t end here. After delving deeply and from multiple perspectives into a century that is both exuberant and elusive, the exhibition explores its connections to a more recent time, particularly the influences exerted on the great artists of the twentieth century, from Umberto Boccioni to Giorgio De Chirico, from Lucio Fontana to Francis Bacon. Many prestigious lenders are involved: alongside Palazzo Barberini, the Albertina in Vienna, the Prado in Madrid, the Vatican Museums, the Uffizi Galleries, and the Capodimonte Museum.
Conceived and created by the Fondazione Cassa dei Risparmi di Forlì in collaboration with the Municipality of Forlì, the exhibition aims to be a journey through the ideas and images that shaped the Baroque, highlighting the relationship between art, power, faith, science, and society in one of the most complex and fascinating periods of European history.
The exhibition project, divided into twelve sections, takes place within the Church of San Giacomo and the large halls that constituted the library of the Convent, bringing to Forlì masterpieces from the most important national and international institutions.
Many collateral events related to the exhibition have been organized to explore the various themes connected to this vast topic. For example, the cultural association “San Mercuriale” has organized a series of conferences from April 14 to 18 in various locations around the city, titled: The Baroque: the Revolution of Knowledge and Beauty, which address Art, Science and Philosophy, Theology, Literature, and Music, thus attempting to compose the kaleidoscope of the complexity of the Baroque.
For such a pervasive cultural movement in our cities in its various dimensions, an exhibition alone would not be enough to describe it. But certainly, this endeavor that seeks to tell a century of splendor and revolution has succeeded in its aim, so much so that when visitors leave the exhibition, they feel as if they have taken a journey through history marked by wonder.
Once again, the bet of the San Domenico Museum has been won. From the cultural gamble that began in 2002 to becoming an exhibition model, making Forlì a city of art, as so far 5000 works of art have been hosted in various exhibitions and nearly 2 million visitors have been welcomed.
One of the most seductive movements in the history of art at the San Domenico Civic Museum
Baroque, a cultural phenomenon that spans the seventeenth century, is characterized by its restless form, alternating rhythm, irregularity, and the exaltation of celebration, shaping itself as a theater of existence. It is in this context that modern science and the primacy of consciousness emerge, elements that help outline the coordinates of our modernity.
The exhibition in Forlì aims to provide a comprehensive view of Baroque culture, analyzing the role of Rome and the European courts, the protagonists who shaped its forms, the patrons who supported its development, and the strategies of power representation that determined its evolution.
Following a thorough reflection on the various expressions of this artistic movement and its main interpreters, the exhibition in Forlì aims to provide an overview of Baroque culture: from the debate of ideas that generated it, to the protagonists who shaped it, and the decisive role of patrons and the representation of power that influenced its development.
If Rome is at the center and the beginning of this remarkable season, with its spread and the change in the international political landscape, especially in the second half of the seventeenth century, its outcomes and influence will characterize the language and culture of the new European courts. In fact, between the end of the sixteenth century and the beginning of the seventeenth century, Rome attracts the best artistic talents, the elites of intellectuals, the exalted spirits of the new religious orders, in the climate of political and religious reorganization promoted by the Catholic Reformation and the Counter-Reformation after the Council of Trent.
Art is at the center of the papacy’s reconquest of Christianity. It is its expressive language. And what will later be derogatorily called Baroque, emphasizing its irregularity, eccentricity, extravagance, is its symbolic hallmark.
To fully understand its genesis (and this is the intent of the exhibition), it is necessary to start from comparisons that range from representations in the Hellenistic period to the restless spatiality of late Mannerism, up to the extreme realism of Caravaggio permeated by an inner atmosphere that prefigures the “senses of mysticism.”
Finally, during the twentieth century, a renewed critical and historical attention will mark the end of the traditional negative reading of the Baroque, re-evaluating it as a moment of extraordinary cultural and formal complexity.
The exhibition Baroque. The Great Theater of Ideas in the halls of the Museo Civico San Domenico brings together over 200 works by masters of the seventeenth century such as Gian Lorenzo Bernini, Francesco Borromini, Caravaggio, Guido Reni, the Carracci, Rubens, Van Dyck, Artemisia and Orazio Gentileschi, Pietro da Cortona until the next 28th of June.
But it doesn’t end here. After delving deeply and from multiple perspectives into a century that is both exuberant and elusive, the exhibition explores its connections to a more recent time, particularly the influences exerted on the great artists of the twentieth century, from Umberto Boccioni to Giorgio De Chirico, from Lucio Fontana to Francis Bacon. Many prestigious lenders are involved: alongside Palazzo Barberini, the Albertina in Vienna, the Prado in Madrid, the Vatican Museums, the Uffizi Galleries, and the Capodimonte Museum.
Conceived and created by the Fondazione Cassa dei Risparmi di Forlì in collaboration with the Municipality of Forlì, the exhibition aims to be a journey through the ideas and images that shaped the Baroque, highlighting the relationship between art, power, faith, science, and society in one of the most complex and fascinating periods of European history.
The exhibition project, divided into twelve sections, takes place within the Church of San Giacomo and the large halls that constituted the library of the Convent, bringing to Forlì masterpieces from the most important national and international institutions.
Many collateral events related to the exhibition have been organized to explore the various themes connected to this vast topic. For example, the cultural association “San Mercuriale” has organized a series of conferences from April 14 to 18 in various locations around the city, titled: The Baroque: the Revolution of Knowledge and Beauty, which address Art, Science and Philosophy, Theology, Literature, and Music, thus attempting to compose the kaleidoscope of the complexity of the Baroque.
For such a pervasive cultural movement in our cities in its various dimensions, an exhibition alone would not be enough to describe it. But certainly, this endeavor that seeks to tell a century of splendor and revolution has succeeded in its aim, so much so that when visitors leave the exhibition, they feel as if they have taken a journey through history marked by wonder.
Once again, the bet of the San Domenico Museum has been won. From the cultural gamble that began in 2002 to becoming an exhibition model, making Forlì a city of art, as so far 5000 works of art have been hosted in various exhibitions and nearly 2 million visitors have been welcomed.
