After the stop in Camerano, Carlo Maratti's hometown, Ancona also pays homage to the artist from the Marches in anticipation of the important anniversary of 2025 which will celebrate the four hundredth anniversary of his birth. An exhibition that ranges between paintings, drawings and prints and that wants to make Maratti's artistic activity known and the promotion he made of his own work.

The exhibition itinerary is enriched by the presence of a beautiful autograph drawing from Osimo, preparatory for the large altarpiece Madonna with Child and Saints conserved in the Pinacoteca Civica of Ancona. Carlo Maratti, born in the Marches but Roman by choice and celebrated in his lifetime as the greatest painter of his time, is a central figure of Italian painting in the second half of the seventeenth century. In 2025 the fourth centenary of his birth will occur and, in anticipation of these great celebrations, in 2022 the traveling exhibition “ Carlo Maratti. Communication strategies and promotion of one's work” which, after a first stop in Camerano, lands in Ancona to make the artist's work known to the general public, the way in which he was able to promote himself and the important influences he had on the artistic production of the centuries later, succeeding in the difficult task of reconciling the two opposing artistic trends of the time: the classicism mediated by Raphael and the magniloquence of the Baroque.

The exhibition made up of 29 autographed works including paintings, drawings and prints, intends to address for the first time this non-marginal aspect of his activity, or rather the ability to rework the same motifs to satisfy different clients, managing to give new shape to the contents of the iconographic tradition, and becoming the object of replicas coming out of his own workshop - in some way authorized by himself - and engravings that have favored the diffusion of his images. The Ancona stage at the "Francesco Podesti" Civic Art Gallery is enriched by an autograph drawing preserved in Osimo , preparatory for the altarpiece Madonna with Child and Saints which is located right in the Art Gallery and around which the whole exhibition revolves. It is the first time that the drawing leaves Osimo to be compared with the pictorial work to which it gave life: a unique opportunity to observe live the accuracy that Maratti placed in the preparation of the canvases especially when, as in this case , approval had to be obtained from the client before starting to paint.