The now usual appointment with the masterpieces of art on the occasion of the new exhibition season entitled Eccentrici e solitari , the exhibition conceived by V ittorio Sgarbi , produced by Contemplazioni and made possible thanks to Intesa Sanpaolo, which has confirmed its support as the only partner since 2020.

«The rhythm of the exhibitions of recent years in Palazzo Doebbing in Sutri has been vast, rich, intense, and also in this edition the proposal is curious and varied, avoiding trends and schools to favor individual, unusual and rare experiences. 'Eccentric and solitary' defines their character well, the obstinate search without dogma, in a short period of time »(Vittorio Sgarbi).

The protagonist of the exhibition is the precious Etruscan sculpture of San Gimignano , one of the most important archaeological discoveries of recent years, imagined here in dialogue with the famous Efebo di Sutri. This precious bronze is therefore exceptionally on display, renamed by Vittorio Sgarbi " the Soul of San Gimignano ". A wonderful and surprising votive statuette found in 2010 during some renovations of a private building near the Fosci stream, among the hills that descend from San Gimignano towards the Valdelsa.

The exhibition itinerary opens with three painters who make their art a contemporary mythology. The link between Wainer Vaccari (Modena, 1949) with Nordic culture produces landscapes and situations that resemble still images of ancient legends, dressed in modern clothes. The characters are mad heroes, serious and focused, darkly ironic. The myth of the north of Vaccari dialogues with the Greek-Latin myth, to which the works of Adriano Fida (Reggio Calabria, 1978) look. Its protagonists are muses and divinities, who lose nothing of their archaic mystery, on the contrary: like the oracle of Delphi, Fida neither says nor hides, but hints through unsolved symbols. Even the works of Lorenzo Tornabuoni (Rome, 1934 - 2004) have to do with myth, not to imitate it, but to create it: he squeezes the secret essences of Sabaudia, and shows us the figures of rowers as icons of delicate solitude.

The search for identity does not take place on the surface, but involves deep and underground explorations. Thus, the visitor will descend the stairs of Palazzo Doebbing , and will find in the basement a gallery of investigating portraits of the human soul. Distorted and upside down faces, such as those photographed by Alessandra Mattè (Milan, 1978), which disturb and intrigue. Captured in their daily simplicity, and for this very reason authentic, like those by Stefano Maffessanti (Lovere, 1975), the portraits and self-portraits of Federico Maria Sardelli (Livorno, 1963), are introspective and disenchanted: casts of the self, so clear to remember the engravings on the metal plates for etching, another technique used by Sardelli.