From September 19, 2025 to January 12, 2026, Palazzo Madama - Museo Civico d’Arte Antica di Torino and the Emilio and Annabianca Vedova Foundation of Venice present the exhibition “Vedova Tintoretto. In dialogo”. An exceptional exhibition designed to bring together the art of two great Venetian painters, each among the greatest interpreters of their own era - Jacomo Robusti known as Tintoretto (Venice, 1518-1594) and Emilio Vedova (Venice, 1919-2006) - read in parallel, in order to address the development of Vedova's work in comparison with that of the master he chose, investigating similarities and consonant (or dissonant) themes underlying their individual expressive choices. 

Tintoretto was foundational for Vedova's artistic formation, and the exhibition at Palazzo Madama will highlight the impetus and strength of the complex relationship that binds the two artists through the juxtaposition of masterpieces by the Renaissance master and the informal artist.

The exhibition project takes its starting point from the exceptional opportunity to host in Turin one of the conclusive and paradigmatic works of Tintoretto's human and artistic journey: the Self-Portrait of 1588, on loan from the Musée du Louvre. A canvas that has been more than an iconographic model, representing, as evidenced by interpretations by Edouard Manet and writings by Jean-Paul Sartre, a sort of poetic and conceptual identification for many artists.

Vedova Tintoretto. In dialogo, set up in the Senate Hall of the Kingdom of Italy, presents around fifty masterpieces including paintings by Emilio Vedova and works by Tintoretto such as the remarkable altarpieces of the Camerlenghi, an extraordinary loan from the Gallerie dell’Accademia in Venice or some of the works from the famous Metamorphoses cycle now preserved at the Estense Galleries in Modena. The intense dialogue between the two artists unfolds from Vedova's early drawings of 1936, through the paintings of the forties and fifties dedicated to reflecting on Tintoretto's paintings such as the Multiplication of the Loaves and Fishes (from Tintoretto) (1942), The Crucifixion (from Tintoretto) (1947), (study from The Dream of St. Mark by Tintoretto) (1956), and those from the eighties. Completing the dialogue and the exhibition is Vedova with the monumental installation ...in continuum, compenetrazione/traslati ’87/’88: over a hundred large canvases, assembled together in a development that will challenge the verticality of the Senate hall, a testament to Vedova's visionary power in continuing his dialogue with the ideal master.