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Barberini Palace verified

Rome, Lazio, Italy closed Visit museumarrow_right_alt

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Michelangelo Merisi, detto Caravaggio - Judith and Holofernes
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Michelangelo Merisi, detto Caravaggio - Narciso
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Michelangelo Merisi, detto Caravaggio - Saint Francis in meditation
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Raffaello Sanzio - La Fornarina
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Hans Holbein il Giovane - Portrait of Henry VIII
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Gian Lorenzo Bernini - Portrait of Pope Urban VIII Barberini - Painting
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Agnolo di Cosimo, detto il Bronzino - Portrait of Stefano IV Colonna
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Pietro da Cortona - The Triumph of Divine Providence and the fulfillment of its ends under the pontificate of Urban VIII
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Gian Lorenzo Bernini - Square staircase
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Francesco Borromini - Helical staircase
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Andrea Sacchi - Allegory of Divine Wisdom
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Annibale Carracci - Portable tabernacle with the Pietà, scenes of saints and martyrs
fullscreen
Domínikos Theotokópoulos, detto El Greco - Baptism of Christ
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Piero di Cosimo - St. Mary Magdalene
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Gian Lorenzo Bernini - Portrait of Urban VIII
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Ginevra Cantofoli - Portrait of Beatrice Cenci
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Lorenzo Lotto - Mystical marriage of Saint Catherine and saints
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Giovanni Baronzio - Stories of the Passion of Christ
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Pompeo Batoni - Portrait of Abbondio Rezzonico
fullscreen
Filippo Lippi - Annunciation
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Portrait of Urban VIII - Sculpture
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Giulio Romano - Madonna with Child (Madonna Hertz)
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Jacopino del Conte - Deposition of Christ in the tomb
fullscreen
Giovanni Antonio Bazzi, detto Sodoma - Mystical marriage of Saint Catherine of Alexandria
fullscreen
Giovanni Lanfranco - The suicide of Cleopatra
fullscreen
Simone Cantarini - Portrait of Cardinal Antonio Barberini
Michelangelo Merisi, detto Caravaggio - Judith and Holofernes
Michelangelo Merisi, detto Caravaggio - Narciso
Michelangelo Merisi, detto Caravaggio - Saint Francis in meditation
Raffaello Sanzio - La Fornarina
Hans Holbein il Giovane - Portrait of Henry VIII
Gian Lorenzo Bernini - Portrait of Pope Urban VIII Barberini - Painting
Agnolo di Cosimo, detto il Bronzino - Portrait of Stefano IV Colonna
Pietro da Cortona - The Triumph of Divine Providence and the fulfillment of its ends under the pontificate of Urban VIII
Gian Lorenzo Bernini - Square staircase
Francesco Borromini - Helical staircase
Andrea Sacchi - Allegory of Divine Wisdom
Annibale Carracci - Portable tabernacle with the Pietà, scenes of saints and martyrs
Domínikos Theotokópoulos, detto El Greco - Baptism of Christ
Piero di Cosimo - St. Mary Magdalene
Gian Lorenzo Bernini - Portrait of Urban VIII
Ginevra Cantofoli - Portrait of Beatrice Cenci
Lorenzo Lotto - Mystical marriage of Saint Catherine and saints
Giovanni Baronzio - Stories of the Passion of Christ
Pompeo Batoni - Portrait of Abbondio Rezzonico
Filippo Lippi - Annunciation
Portrait of Urban VIII - Sculpture
Giulio Romano - Madonna with Child (Madonna Hertz)
Jacopino del Conte - Deposition of Christ in the tomb
Giovanni Antonio Bazzi, detto Sodoma - Mystical marriage of Saint Catherine of Alexandria
Giovanni Lanfranco - The suicide of Cleopatra
Simone Cantarini - Portrait of Cardinal Antonio Barberini

Other works on display

Description

Saint Mary Magdalene is recognizable by the profile marked by the halo, her long hair and the jar of ointments. The latter refers to the visit of the Magdalene and the pious women to the tomb on Easter morning: when they arrived at the place to embalm the body of Jesus with perfumed oils, they found the tomb empty, being the first to testify to the Resurrection. The long hair with which the Magdalene is usually depicted derives instead from an erroneous interpretation of the Gospel, which led to confuse the Magdalene with the unknown prostitute who, repenting of the sins committed, wept on Jesus' feet and wiped them with her own hair. In Piero di Cosimo's painting, however, there are elements that go beyond the traditional representation of the saint and instead refer to the artist's contemporaneity: the shape of the dress, the open book and the pose of the woman, in addition to the architecture that frames it. , have direct references to fifteenth-century portraiture. In fact, it cannot be ruled out that the painting was commissioned by or for a woman named Maddalena, who wanted to be portrayed as the saint whose name it bore. Noteworthy is the extremely refined execution of the work, which is striking for the quality of the pictorial surface and the definition of the details. With regard to these aspects, Piero di Cosimo has also shown that he appreciates and fully understands the formal values of Flemish painting.

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