The Museo e Real Bosco di Capodimonte presents in the Causa room the large monographic exhibition on Battistello Caracciolo , an artist (Naples, 1578-1635) who more than others embodied the teachings of Caravaggio , to the point of obtaining the definition of "bronze patriarch of the Caravaggeschi ” By the art historian and critic Roberto Longhi .
In the Causa room at the Museum and Real Bosco di Capodimonte there are almost 80 works , many of which come from public institutions, Italian and foreign, ecclesiastical bodies and private collectors. At the Royal Palace it will be possible to visit the Sala del Gran Capitano frescoed by Battistello Caracciolo while at the Certosa and the Museum of San Martino the exhibition itinerary winds through the chapels of the Assumption, of San Gennaro, of San Martino and in the Choir of the Chies in , as well as in the rooms dedicated to Battistello in the gallery of the Quarto del Prior .
The Caracciolo exhibition is part of the program of exhibitions that the Museum and Real Bosco di Capodimonte carries on on Neapolitan and non-Neapolitan artists who have had a close relationship with Naples, even if fleeting, as in the case of Picasso and, more recently, Jan Fabre or Santiago Calatrava, and who have seen their work influenced, pushed to express something different or sometimes to take a new course, from the Neapolitan experience. After Luca Giordano, Vincenzo Gemito, Salvatore Emblema and now Battistello Caracciolo . These monographic exhibitions are often the first ever to be carried out on these artists and contribute to a better identification, if not of the School, at least of the Neapolitan milieu, a complex milieu that cannot be understood only by strictly philological exhibitions that often hide the complexity of a metropolis open to the world like Naples: the exchanges and uniqueness of the human sciences in the broadest sense of the term are here more relevant than traditional history and limited "scientific" exhibitions. Each exhibition is influenced by those that preceded it for what its subject taught us, but also on the art of exhibiting, of telling and on the receptivity of the public.
In this case, the exhibition Oltre Caravaggio . A new tale of painting in Naples, curated by Stefano Causa and Patrizia Piscitello, inaugurated on March 31st, also influenced the exhibition on Battistello Caracciolo , suggesting the introduction of elements of comparison with sculpture or with paintings of different sensibility , apparently opposed to the figure of Caracciolo, shaking genres and materials, without falling into the concept of the exhibition of Civilization, allowed to better understand the peculiarity of this painter, to change perspectives and to give new readings to the rich and polyglot artistic dialogue in the powerful Viceroyalty Spanish, always shaken by the arrival of new talents from Florence, Spain or Rome , such as Caravaggio, artists such as Ribera , Lanfranco, Pietro Bernini or Michelangelo Naccherino and their works on display, make the setting up a more visual feast. relevant and richer, where the visitor is an accomplice invited to interact.