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Michelangelo Merisi, detto Caravaggio - Behold the man
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Antonio Canova - Penitent Magdalene
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Peter Paul Rubens - Venus and Mars
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Filippo Lippi - Saints Sebastian, John the Baptist and Francis
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Paolo Caliari, detto il Veronese - Susanna and the Elders
fullscreen
Alessandro Magnasco, detto Lissandrino - Entertainment in a garden of Albaro
fullscreen
Luca Cambiaso - Self-portrait of the painter in the act of painting the portrait of his father
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Domenico Piola - Cain and Abel
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Luca Cambiaso - Madonna of the candle
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Valerio Castello - Madonna of the veil
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Jan Wildens - Landscape with tree-lined avenue
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Hans Memling - Sorrowful Christ in the act of blessing
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Jan Roos - Still life of fruit, vegetables and flowers
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Francesco de Zurbaran - Sant’Orsola
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Orazio De Ferrari - Christ and the adulteress
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Antonio Travi, detto il Sestri - Adoration of the shepherds
Michelangelo Merisi, detto Caravaggio - Behold the man
Antonio Canova - Penitent Magdalene
Peter Paul Rubens - Venus and Mars
Filippo Lippi - Saints Sebastian, John the Baptist and Francis
Paolo Caliari, detto il Veronese - Susanna and the Elders
Alessandro Magnasco, detto Lissandrino - Entertainment in a garden of Albaro
Luca Cambiaso - Self-portrait of the painter in the act of painting the portrait of his father
Domenico Piola - Cain and Abel
Luca Cambiaso - Madonna of the candle
Valerio Castello - Madonna of the veil
Jan Wildens - Landscape with tree-lined avenue
Hans Memling - Sorrowful Christ in the act of blessing
Jan Roos - Still life of fruit, vegetables and flowers
Francesco de Zurbaran - Sant’Orsola
Orazio De Ferrari - Christ and the adulteress
Antonio Travi, detto il Sestri - Adoration of the shepherds

Other works on display

Description

An absolute masterpiece of the civic collections, this panel with coping is the work of one of the most interesting and innovative painters of the Florentine school of the second half of the fifteenth century, Filippino Lippi, son of the Carmelite friar Filippo Lippo, also a leading painter in fifteenth-century Florence. The altarpiece, made between 1502 and 1503 for the commissioning of Francesco Lomellini, a figure in sight of the Genoese political world and shrewd client, is an excellent example of the pictorial qualities and originality of the conception of Filippino's painting: his art, in fact , testifies to the encounter between the great Tuscan Renaissance tradition, with its attention to nature and to the human figure studied in its relationship with space, and a new, more restless feeling, which already marks the overcoming of certainties at the turn of the century , of the balance and measure of the first season of "rebirth" of the fifteenth century. The figures of Filippino, in fact, are unusually elongated and lean, characterized by a pathetic accentuation that moves away from the beauty of the forms of the first Renaissance “classicism”. The panel of Palazzo Bianco is a perfect example of the painter's poetics, finding highly significant bizarre elements even in the architectures that frame the saints represented: the ancient arches in ruins - symbol of the triumph of Christian values over the pagan world - are in fact painted in irregular scanning and the presence of a red marble column that is not very consistent with the rest of the building stands out; moreover, the Saint Sebastian pierced by arrows is not painted perfectly aligned with the base on which he rests, assuming a deliberately unstable posture. To enrich the complexity of the symbolic references is the presence, on the left of the composition, of a snake hidden between the cracks of the ancient marbles, a negative symbol of infidelity as opposed to the lizard, animal of God, always warmed by the rays of the sun; and again, the epigraph on the table decorated with harpies on which Saint Sebastian is placed bears the inscription "Imp. God. Et. Max ”, which places the story of martyrdom under the emperors Diocletian and Maximian. It should be emphasized, observing the accuracy of the reliefs of this marble base, that Vasari himself recalls the frequent use by Filippino "of the ancient things of Rome". The accuracy of the details of the background landscape on the right deserves attention, with figurines in contemporary clothes and the coping with a Madonna and Child between two angels, with refined chromatic accords. The painting, sent to Genoa from Florence, bears the date and personal "company" of the painter - the acrostic Glo / Vi / s - on the back.

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