I'm telling...
My wife and I purchased tickets in advance via the Internet for November 25th, entrance at 11:30. We arrived about 10 minutes before, stood for a while with the same “ticket holders” and all went inside together on time. Then we wandered around the halls as much as we wanted. Other citizens stood in a very long queue in the morning, from which they let in 10 people every half hour.
The exhibition is organized very well. The paintings are hung correctly and have a good background. The signatures deserve special praise - they are written in large letters, so it is very convenient for people with low vision: they can read everything without glasses.
The exhibition occupies three halls, and in one of them - the third - there are only eight works by a hitherto unknown master: Donato Creti. I'll tell you about them at the very end.
So the main and most interesting part of the exhibition fit into two very small halls. And that's good: it's not tiring. The audience was mainly made up of middle-aged and elderly people, many with sticks and crutches... This is the same dearly beloved Soviet intelligentsia, to whom I myself belong, and for whom I have the warmest and most respectful feelings. They are the guardians and custodians of culture, tradition, moral standards and life in general. Those scum who, as I read, are or have recently held a coven called the “Congress of the Russian Intelligentsia” do not come here. For them, the government that is hated and insulted by them, but serves and serves them, organizes separate “closed” shows with invitation cards. But - God bless them! Their end is disgusting and not far off... (At this point I consider my political fervor completely spent: let's go to the exhibition!)
Photography is prohibited and is monitored closely. But a lot has already been posted on the Internet, which I took advantage of.
There are 16 works in the first hall. The exhibition opens with Christ Blessing, 12th century.
It is obvious that this is a Byzantine letter, a Byzantine school, etc. Attributed as "Roman School". But we know where all these schools came from in the 12th century...
The second oldest work is “Saint Francis” (Margaritone d’Arezzo).
Then - five works of the XIV-XV centuries by different masters.
Let's look at them "up close".
"Jesus before Pilate" (Pietro Lorenzetti):
"Christmas" (Mariotto di Nardo):
“Christmas and the Good News to the Shepherds” (Giovanni di Paolo) - charming in its fabulousness:
“Saint Nicholas calms the storm and saves the ship” (Gentile da Fabriano):
“Scenes from the life of St. Nicholas the Wonderworker (Fra Angelico) attract attention with an unexpectedly joyful and bright color (which, however, this photograph does not convey):
In Carlo Crivelli’s painting “Lamentation”, to my complete surprise, I saw almost all the painting techniques that the Pre-Raphaelites had so effectively adopted. It will be interesting to know if this has occurred to others as well?
The central place in the first room is rightfully occupied by Giovanni Bellini’s Lamentation of Christ. This is, of course, a masterpiece:
I note that in the entire exhibition there are not so many works that I unconditionally considered “true masterpieces”. Despite, sometimes, great names...
Further - if you continue to look around the first room “in the sun”, there hangs a long work by Ercole de Roberti “The Miracles of St. Vincenzo Ferrara”, which is distinguished by the liveliness of the plot with many actors and high decorativeness in general.
Here is a fragment of it enlarged.
Then (and, in fact, this is the first thing that catches your eye upon entering) angels by Melozzo da Forli will look at us: two playing the lute, one playing the viol:
These angels cannot be called incorporeal by any means. Yes, and being asexual is also difficult. Very lively, vibrant, emotional, let's face it: exciting faces, lips, eyes... It is no coincidence that these angels are replicated in hundreds of crafts (postcards, magnets, etc.) for tourists visiting Rome.
The exhibition of the first hall ends with two small works by Perugino, one of which I unconditionally classify as a coloristic masterpiece: “Saint Justina” (until recently considered “Saint Flavia”). I will say again that the photo does not convey the fullness of the shades. However, this phrase applies to all illustrations:
Perugino's second work: "Saint Placido":
Let's move on to the second room. It contains another dozen and a half works.
And among them there are also genuine masterpieces. A little - but there is. (Without classifying anything as a “true masterpiece,” I am not just subjective: I am also subject to the influence of momentary moods, the vagaries of the weather, fluctuations in prices for rare metals, political news, visitors who happen to be nearby... In general, you should not take my notations seriously.)
I will, however, list all the works - in the order in which they appear when walking around the hall from left to right.
"Trinity with the Dead Christ" (Lodovico Carracci):
“Judith and the maid with the head of Holofernes” (Orazio Genileschi):
"The Denial of Saint Peter" (Pensionante del Saracene?):
Nearby is one of the central paintings of the exhibition: “Entombment” (Caravaggio):
Next is “Saint Sebastian Healed by Saint Irene” attributed to Trophimus Bigot:
To his right is Guido Reni’s famous painting “Saint Matthew and the Angel” (an undoubted masterpiece):
Another work by Guido Reni and his workshop hangs nearby - “Fortune with a Purse”. Good, but "not a masterpiece":
In the center of the second hall there is a glass case, dimly lit for the sake of preserving the works, with small, almost monochrome works by Raphael: “Faith” and “Charity”:
To her left is “Christ in Glory” by Correggio:
To the right of the display case with Raphael’s “Vision of St. Helena” by Veronese:
Next in the circle are “The Penitent Magdalene” and “The Unbelief of St. Thomas” by Guercino:
And then - a huge canvas by Poussin “The Martyrdom of Saint Erasmus”, in which the unfortunate Erasmus has his stomach ripped open and his intestines pulled out...
Moscow. November 25. website - Exhibition paintings from the Vatican Pinacoteca Roma Aeterna, who came to Russia for the first time, opens on Friday at the State Tretyakov Gallery in Lavrushinsky Lane.
“Never before have the Vatican Museums taken out of their borders at the same time such a significant number of outstanding works from the permanent exhibition, so the exhibition will become an event not only for Russia and Europe, but also for the whole world,” she said earlier general manager"Tretyakov Gallery" by Zelfir Tregulov.
Especially for this project, the Vatican Museums will present in Russia the best part own collection - 42 paintings XII-XVIII centuries. Among them are works by Giovanni Bellini, Melozzo da Forli, Perugino, Raphael, Caravaggio, Guido Reni, Guercino, Nicolas Poussin. According to Deputy Director of the Vatican Museums Barbara Yatta, the exhibition reflects all stages artistic development painting.
Entrance to the exhibition is carried out by session; tickets can be purchased at the box office and on the official website of the museum. On at the moment All tickets for December have been sold out, the gallery’s press service noted, and a new batch of tickets will go on sale in mid-December. In addition, as previously reported, starting from January, in order to combat speculators, tickets to the exhibition will be personalized.
The museum noted that visitors will enter the halls, and the time during which they can stay at the exhibition is not limited, just as it was at the Aivazovsky exhibition. “For now there will be no restrictions on time spent at the exhibition. As practice shows, usually an hour is enough for viewers to view the exhibition. The first session will begin at 10:00 on the “long” days of the gallery, on “short” days the Tretyakov Gallery is open until 18:00 , the last session starts at 16:30,” the press service explained.
The exhibition opens with the image of “Christ Blessing” from the 12th century, which has never previously been exhibited in temporary exhibitions or left the Vatican. It is an example of the unity of Christianity, since it was created even before the schism, and demonstrates the common roots of Italian and Russian art. Next in chronology is the work of Margaritone d'Arezzo "Saint Francis of Assisi" of the 13th century. It is known for being one of the earliest images of the saint. In the same room there are works of Gothic masters, very rare in Russian collections. Among them is "Jesus in front of Pilate" by Pietro Lorenzetti, two predella telling stories from the life of St. Nicholas the Wonderworker, Archbishop of Myra in Lycia.
Frescoes depicting angels by Melozzo da Forli are separately exhibited. The paintings by this artist were removed from the apse dome during the rebuilding of the Church of Santi Apostoli in Rome.
The High Renaissance, 16th century, is represented in the exhibition by works by Perugino, Raphael, Correggio and Paolo Veronese.
Viewers will also see Caravaggio’s “Entombment” and the most great work Nicolas Poussin's altarpiece "The Martyrdom of St. Erasmus", painted especially for St. Peter's Basilica. The exhibition continues with works by Caravaggists and artists of the Bolognese school: Lodovico Carracci, Guido Reni, Guercino.
Roma Aeterna is part of a large project: at the beginning of 2018, a reciprocal exhibition will be held in the Vatican, a significant part of its exhibits will be works of Russian painting on gospel subjects from the collection of the Tretyakov Gallery.
An additional program for the exhibition: lectures, concerts, film screenings will be published on the gallery’s website.
Interview with exhibition curator Arkady Ippolitov and other materials on the web.
34 works and a series of 8 paintings by Donato Creti from the permanent exhibition of the Pinakothek were brought to Moscow. Works from the 12th to the 18th centuries are presented. This is a tenth of the collection, which includes 460 works. It is interesting that a number of paintings left their native walls for the first time. Most of the paintings were selected for the exhibition by the director of the Tretyakov Gallery, Zelfira Tregulova, and the curator, art critic and curator of the Hermitage's prints department, Arkady Ippolitov.
A return exhibition from the Tretyakov Gallery’s collection will go to the Vatican next fall.
The Vatican Museums are a museum of the history of Rome and Roman art. Here you can study all seven centuries of the history of the Papal State. Each hall of the Pinakothek is dedicated to one century. The eighth hall is dedicated to the work of Raphael.
Deputy Director of the Vatican Museums Barbara Yatta talks about the history of the Vatican Museums and more about the Pinacoteca. The current exhibition is “a very symbolic and unique selection from the collection of the Vatican Museums... The very arrangement of the works allows us to understand the historical connection. The exhibition shows how each work is located in one or another hall of the Pinakothek...” 
“This exhibition is a contribution to the relations between our countries and, most importantly, it is something that will leave a mark in the souls of the Russian people...”
The sound of the Italian language is wonderful additional opportunity to understand the very spirit of the Roman school of painting that the organizers wanted to convey.
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(left). Roman school. Christ the Blesser. XII century Altar image. Canvas pasted on wood, tempera.
“The exhibition begins with the rare ancient icon “Christ Blessing,” created in the second half of the 12th century by a master who worked in Rome under the influence of Byzantine painting. Before entering the Pinacoteca, it was located in the church of Santa Maria in Campo Marzio, one of the oldest in Rome. The Roman master presented Jesus Christ in the image of Pantocrator, that is, the ruler of the Universe, and the icon, being an analogy of ancient Russian images of the Savior Pantocrator, preserves the memory of the unity of the Christian church before the schism, that is, before its division into Catholic and Orthodox, and shows the direct kinship of Italian and Russian art coming from the same root."
But what different paths the art of our countries took in the future! Within the walls of the Tretyakov Gallery this is felt especially acutely.
Sincere faith comes from these two paintings, the oldest in the exhibition.
2. Margaritone di Magnano, nicknamed Margaritone d'Arezzo ca. 1216–1290).
Saint Francis of Assisi. 1250–1270. Altar image. Wood, tempera, gold. 127.2x53.9 cm.
"Margaritone d" Arezzo, born before Giotto and Duccio, is one of the greatest painters of medieval Italy. The painting is included in all textbooks on the history of art as an outstanding example of the late Romanesque style, but it is also interesting because it is one of the earliest images of the saint Francis of Assisi, made shortly after his canonization in 1228, St. Francis played a vital role in the history of the Western Church, and it is not for nothing that his name was chosen by the current pope, who became the first Francis in the history of the Vatican. This work"may have been exactly the one that Vasari described in his Life of Margaritone as painted from life, so that it can be considered almost one of the first portraits in Italian painting." 
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(left). Gentile da Fabriano (c. 1370–1427).
Scenes from the life of St. Nicholas the Wonderworker: St. Nicholas calms the storm and saves the ship. OK. 1425. Predella. Wood, tempera.
“Part of the predella by Gentile da Fabriano, one of the most captivating masters of Italian late Gothic, tells of a miracle performed by Nicholas the Wonderworker, Archbishop of Myra in Lycia, equally revered by the Orthodox and Catholic churches. On a ship caught in a storm and doomed to destruction, the sailors offered a prayer to Saint Nicholas, and he came to the rescue. The artist depicts the moment when the saint rushes from heaven to save the sailors. The mermaid swimming in the waves, according to medieval symbolism, personifies the demonic force that caused the storm, but Gentile da Fabriano, who scattered fantastic inhabitants of the deep sea in the waters, turns the edifying story about the victory over the devil into a wonderful picturesque mirage.”
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(right). Guido di Pietro, nicknamed Fra Beato Angelico (c. 1395–1455).
Scenes from the life of St. Nicholas the Wonderworker. Around 1447–1449 (?). Predella. Wood, tempera, gold.
“Guido di Pietro took monastic vows under the name of Brother Giovanni, but Vasari already nicknamed him Angelico, the Angelic, both for the charm of his art and for the gentleness of his character. Later, the adjective “Beato” was added to the nickname, and he entered the history of art under the name Fra Beato Angelico, the Blessed Angelic Brother. In 1982, Pope John Paul II officially beatified him, and now he has become the patron saint of artists. This is the most gentle and poetic artist of the Florentine 15th century. This work is dedicated to the miracles of St. Nicholas performed by him after his death. On the right, Saint Nicholas saves a ship from destruction, on the left, he addresses the sailors who sailed from Alexandria with a cargo of grain for the Roman emperor. He asks them to give grain to save his hometown from hunger, and promises that the load will not decrease from this.” 
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(left). Carlo Crivelli (1435–1494).
Mourning. 1488. Lunetta. Wood, tempera, gold.
“Carlo Crivelli, a Venetian by birth, left his native city early and became famous in the Marche region. During his lifetime he was popular, but later he was forgotten and rediscovered only in late XIX century. This lunette, which crowned the large altar, is one of his most stunning works. For the sake of expressiveness, the artist resorts to obvious violations of proportions, and in order to intertwine the hands of Jesus, the Virgin Mary and Magdalene together, Crivelli makes right hand Christ is much longer than the left one. Bent over a knot of palms, Magdalene’s face, distorted by crying, becomes the emotional center of the picture. The work is strongly influenced by Northern Gothic, and is characterized by that incredible intensity of psychological experience that is characteristic of the mystical religious movements of the 15th century.” 
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(in the center). Giovanni Bellini (c. 1432–1516).
Lamentation of Christ with Joseph of Arimathea, Nicodemus and Mary Magdalene. OK. 1471–1474. Altar top. Wood, oil. 107x84 cm.
"Bellini is the greatest artist Venetian school XV century. This painting is one of his masterpieces. She was the finial of a great altar, and in his composition Bellini takes a decisive step towards quiet grandeur High Renaissance, surpassing many of his contemporary Florentine artists. The work is avant-garde in the mere fact that it is painted in oils, using a technique that is completely new for Italy, just brought to Venice from the Netherlands. The iconography is also original. Usually the main person in the Lamentation scene is the Virgin Mary. Only Joseph of Arimathea, Saint Nicodemus and Mary Magdalene are depicted here supporting Jesus from behind. The thoughtful silence in which the characters are immersed, emphasized by the tension of their clasped hands, gives this scene a rare psychological acuity.”
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(right). Ercole de Roberti (c. 1450–1496).
Miracles of Saint Vincenzo Ferrer. 1473. Predella. Wood, tempera.
“In the 15th century, Ferrara flourished under the Dukes of Este, becoming an influential cultural center Renaissance Italy. Ercole de Roberti is one of the most original artists of the Ferrara school. His predella is considered the most sophisticated predella of the Renaissance. It is dedicated to the acts of the Spanish saint Vincenzo Ferrer and is full of the mysterious and alluring spirit of Ferrara. The following episodes are depicted (from left to right): healing of a woman in labor - landscape - resurrection of a rich Jew - healing of a lame man - rescue of a child from a burning house - child killed by an insane mother - resurrection of a child. The iconography of the predella has not been fully deciphered, and the artist shows his erudition by combining Gothic extravagance with references to ancient art.”
14.15. Melozzo degli Ambrosi, nicknamed Melozzo da Forli (1438–1494).
Angels playing the lute. 1480. Fragments of a fresco removed from the wall. Right size: 117x93.5 cm.
The artist “...was invited to Rome by Pope Sixtus IV. He created many frescoes in Roman churches, so that Melozzo can be considered the founder of the Roman school, which flourished in the 16th–17th centuries. Three angels playing music are fragments of his painting of the dome of the Church of Santi Apostoli, a huge multi-figure composition “The Ascension of Christ”.
The fresco was perceived by contemporaries as a triumph of papal power, which revived Rome. The divine orchestra of angels symbolized the unearthly beauty of paradise, and the abstract concept of “music of heaven” is associated with the philosophical constructions of the model of the world, which the Pythagoreans and Platonists spoke about. Melozzo, as a Renaissance artist, in his work combines ancient and Christian tradition. His angels, glorifying the Lord according to the words of the Bible: “Let them praise His name with faces, with tympanum and harp, let them sing to Him, for the Lord delights in His people, glorifying the humble with salvation,” are ideal, like antique statues, and at the same time vital - they look like young pages at the courts of Renaissance rulers.” 
Among the many crucifixions, lamentations, entombments and other tragic scenes, the section of the exhibition with three angel-musicians is like a bright corner of paradise, a rest for the soul. They are characterized by lightness, lack of exaltation, and deliberate theatricality. The roughness and dullness of the fresco attracts the eye.
Listen and watch the story about the Pinakothek of Barbara Yatta and the continuation of the excursion
On Mondays, many of Moscow's museums are closed. But this does not mean that the public does not have the opportunity to become acquainted with beauty. Especially for the first day of the week, the site’s editors launched the “10 Unknown” section, in which we introduce you to ten works of world art from the collection of Moscow museums, united by one theme. Print out our guide and feel free to take it to the museum.
The exhibition "Roma Aeterna. Masterpieces of the Vatican Pinacoteca" opened at the Tretyakov Gallery. The exhibition includes works by Giovanni Bellini, Melozzo da Forli, Perugino, Raphael, Caravaggio, Guido Reni, Guercino, Nicolas Poussin - a total of 42 works out of 460 stored in the collection. Most of them have never left the walls eternal city and are unknown to the general public.
Raphael "Faith" and "Charity", 1507
Photo gallery
For the first time, the Vatican Museums are showing in Russia the best part of their collection – masterpieces of the 12th–18th centuries. And for the first time, the Pinakothek brought 42 works out of 460 - a tenth of the collection. In 2017, the Tretyakov Gallery will show some of the the best masterpieces Russian religious art. This cultural exchange should reveal how close European and Russian painting are.
The entire exhibition occupied three halls of the Engineering Building. Central work two small grisaille (monochrome) works were selected that were part of the composition of the Baglioni altarpiece in the church of San Francesco al Prato in Perugia. “Faith” is a female figure with a chalice (a religious attribute) in her hand, surrounded by putti or, in other words, small angels. In their hands are monograms - the initials of Jesus. And Mercy is a mother hugging her babies. Putti on the right holds a cauldron with fire on his shoulders - an ancient symbol of peace, referencing history Olympic Games. Such a connection with antiquity for artists of the Renaissance and more later eras was not an accident: even in Christian religious art masters found parallels with the culture of the ancient Romans and Greeks.
The third altar image was the image of “Hope”. These three small works, as well as the composition “Entombment,” became Raphael’s first major commission and immediately brought him success and recognition.
Michelangelo Merisi, nicknamed "Entombment" by Caravaggio, circa 1603–1604
The most significant and probably famous work at the exhibition - "Entombment" by Caravaggio. The artist became the main innovator of his generation. the brightly lit figures of his heroes break through the surrounding darkness, which creates an incredible emotional dramatic intensity in each work. The iconography of the “Entombment” plot is very unusual: this scene has never been depicted from such a perspective.
It is interesting that Caravaggio never depicted his saints in halos, as was customary: his models were poor people and vagabonds whom he found on the streets and in taverns, and not professional sitters. But their faces always expressed what the artist needed, all the hardships and lives were reflected in their large features, deep wrinkles or tousled hair. Caravaggio never allowed random details: it seems that Christ’s hand is free and lowered, and the gesture of his fingers is random. However, the viewer sees exactly three fingers, which indicates that Christ will spend three days in the Tomb.
Nicolas Poussin "The Martyrdom of Saint Erasmus", 1628
The painting "The Martyrdom of Saint Erasmus" became Poussin's first major commission in Rome. It was intended for one of the chapels in St. Peter's Basilica, the construction of which had just been completed. Such a cruel scene with the ripping open of the abdomen and the wrapping of intestines around the collar amazed contemporaries with its naturalism, nevertheless, it corresponded to the accuracy biblical story. Poussin became one of the main artists of classicism, an antagonist of the baroque painting of Caravaggio and his followers. Therefore, it is no coincidence that at the exhibition the paintings are located opposite each other. Thus, it becomes noticeable that Poussin’s drama is in no way inferior to Caravaggio’s emotional intensity, although the artists went to this effect in completely different ways.
Giovanni Bellini "Lamentation of Christ with Joseph of Arimathea, Nicodemus and Mary Magdalene", circa 1471–1474
Bellini was the largest artist of the Venetian school of painting of the 15th century. A contemporary or even predecessor of Raphael and Leonardo, he was in no way inferior to them in the perfection of his art. One of the first in Italy to paint in oils, a technique brought to Venice Dutch artists, and in his painting itself, notes of the Northern Renaissance are felt: the clarity of lines and refinement of proportions anticipate the images of northern authors. The complex composition, perspective, emphasis on gestures and emphasized elegance of hands amazed his contemporaries.
Paolo Cagliari, nicknamed Paolo Veronese "The Vision of Saint Helena", circa 1575-1580
Veronese is another representative of the Venetian school. The saint is depicted in a luxurious dress in the spirit of 16th century fashion. According to legend, an angel appeared to Helen and told her to go to Rome in search of the cross of Jesus. Usually this plot was depicted differently: Elena was presented as leading the workers who dug up the cross. Veronese writes her sleeping, with an angel holding a cross in her hands. Art historians believe that the artist’s model was his wife.
Guido Reni "Saint Matthew and the Angel", circa 1620
The exhibition features two works by Guido Reni. The image of St. Matthew with an angel is indicative of Reni’s work as a whole: his portrait images of saints, created with Caravaggist light-and-shadow contrasts, were worth big money and enjoyed enormous popularity. Like Caravaggio, he paints his saints not as calm and dispassionate saints, but as living and emotional characters. Matthew is depicted at the moment of creating the Gospel, the text of which he writes down behind an angel.
Melozzo da Forli "Music Angels". Frescoes from the Church of Santi Apostoli, 1480
Photo gallery
Melozzo became the founder of the Roman school of painting, which flourished in the 16th–17th centuries. The Musical Angels of Forlì have become one of the main tourist brands of the Vatican. Their images can be found everywhere from souvenir products, ending with official symbols. This fresco was located in the Roman church of Santi Apostoli and decorated its dome. The image served as the embodiment of the concept of “music of heaven” and glorification of the Lord, quotes from the Bible: “Let them praise His name with faces on the tympanum and harp, and sing to Him, for the Lord delights in His people, glorifying the peaceful with salvation.”
Antonio Allegri, nicknamed Correggio, "Christ in Glory"
Such an image of Christ was rare for the Italian pictorial tradition, but it was often found in Byzantine icons. Therefore, the image seems so similar to ancient Russian icons, which became a continuation of Byzantine traditions: the frontality of the composition, the golden background, the very position of the body of Christ - all this can be found in Orthodox iconography. During his lifetime, Correggio's fame was limited to his hometown of Parma, but today his works represent a unique chance for researchers to trace the connection between the eastern and western pictorial traditions of Christianity.
Donato Creti, Series " Astronomical observations"
Photo gallery
An unusual series of paintings depicting observations of all the planets known at that time solar system was created at the beginning of the 18th century as a gift to Pope Clement XI. Count Luigi Ferdinando Marsili hoped that after such a present the Pope would allocate money for the construction of an observatory in Bologna. This city, with one of the oldest universities in Europe, was already considered the center of Enlightenment and culture. At the same time, its natural-philosophical context stands out strongly from the entire series of religious works presented at the exhibition, and the atmosphere of painting of “gallant festivities” connects these works with French art era Louis XIV. That is why a separate room is allocated for the Creti series.
Giovanni Francesco Barbieri (Guercino) "The Unbelief of St. Thomas"
In the exhibition "Roma Aeterna" you can see two works by Guercino - "The Penitent Magdalene" and "The Unbelief of St. Thomas." Both were extremely popular in Renaissance art and later time. Paintings based on this subject by different artists, were distinguished by varying degrees of drama: some masters depicted Thomas plunging his fingers deeply into the wound of Christ, thereby achieving an incredibly vivid, almost physical sensation for the viewer. Guercino takes a different path: his gesture of Thomas is not so daring: drama is achieved thanks to light-shadow contrasts and combinations of blood-red and deep blue clothes of the saints. This is not surprising, because Guercino is considered one of the best colorists of the Bolognese school of the 17th century.
An exhibition of masterpieces from the Vatican Pinacoteca has opened at the Tretyakov Gallery on Lavrushinsky Lane.
In Moscow, 42 paintings of the 12th-18th centuries will be shown by such masters as Giovanni Bellini, Fra Beato Angelico, Perugino, Raphael, Caravaggio, Paolo Veronese, Nicolas Poussin, reports “ Interfax".
Entrance to the exhibition is organized in half-hour sessions. Meanwhile, as the museum’s press service reported, tickets to the exhibition have already been sold out until the end of the year. The museum noted that a new batch of tickets will arrive in mid-December.
The exhibition is unique in that the Vatican Museums have never previously provided paintings of this level and in such quantity for any event. Let's add that Caravaggio paintings, Rafael Santi, Giovanni Bellini, Guercino, Pietro Perugino and Guido Reni rarely leave the Vatican.
/ Friday, November 25, 2016 /topics: Culture
Exhibition of works from the collections of the Vatican Museums "Roma Aeterna. Masterpieces of the Vatican Pinacoteca. Bellini, Raphael, Caravaggio" will be held at the Tretyakov Gallery from November 25 to February 19, mos.ru reports.
The Vatican Museums brought masterpieces from the 12th to 18th centuries to Moscow. The exhibition includes 42 paintings by Giovanni Bellini, Melozzo da Forli, Perugino, Raphael, Caravaggio, Guido Reni, Guercino, Nicolas Poussin.
In 2017, the Tretyakov Gallery will come to the Vatican on a return visit. The Vatican Museums will exhibit paintings by Russian masters based on gospel subjects.
An exhibition of masterpieces from the Vatican Pinacoteca, which have never before left Italy in such numbers, opened on Friday in the Engineering Building of the Tretyakov Gallery in Lavrushinsky Lane. .
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The exhibition reflects all stages of the artistic development of painting. It is opened by a 12th century icon “Christ Blessing”
, who had not previously left the Vatican, reports “ Interfax". Next in chronology is Margaritone d'Arezzo's work "Saint Francis of Assisi" from the 13th century, perhaps the earliest depiction of the saint. Frescoes depicting angels by Melozzo da Forlì are also exhibited separately.
The High Renaissance is represented at the exhibition by works by Perugino, Raphael, Correggio and Paolo Veronese. The colossal paintings “Entombment” by Caravaggio and “The Martyrdom of St. Erasmus” by Nicolas Poussin are placed opposite each other. The exhibition continues with works by Caravaggists and artists of the Bolognese school, and the final section is a cycle “Astronomical observations”
Donato Creti.
Entrance to the exhibition is organized in half-hour sessions; tickets until the end of the year have already been sold out, the gallery’s press service reported. New batch tickets will arrive in mid-December, and from January, in order to combat speculators, tickets to the exhibition will be personalized. There will be no restrictions on time spent at the exhibition. As practice shows, viewers usually only need an hour to view the exhibition. .
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"Roma Aeterna. Masterpieces of the Vatican Pinacoteca"
42 works of art from the heart of Rome
Date: November 25 - February 19
Location: Lavrushinsky lane, 12, Engineering building
Why go: to see a tenth of the entire collection of the Vatican Museums - 42 masterpieces out of 4 .
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Never before have so many outstanding works from the permanent exhibition left the walls of the Pinakothek at the same time.
And in 2017, a reciprocal exhibition will be held in the Vatican, at which the Tretyakov Gallery will show unique works of Russian painting on gospel subjects.
What else: electronic tickets All sessions until January 1st are already sold out. The new batch will appear on the Tretyakov Gallery website on December 1st. But this does not mean that it is impossible to get to the exhibition: at the box office of the museum itself, 30 additional tickets are sold every half hour.
Price: 500 rubles.
You can follow news and changes in the exhibition schedule on the Tretyakov Gallery website.