ROME.- Rome is set to host an extraordinary cultural event as the Capitoline Museums welcome Pala Gozzi by Tiziano Vecellio, alongside five additional masterpieces from Ancona’s Pinacoteca Podesti. The exhibition, opening November 26, 2024, celebrates the beginning of the Jubilee and offers visitors a rare chance to experience works by Tiziano, Olivuccio Ciccarello, Carlo Crivelli, Lorenzo Lotto, and Guercino in the historic halls of Palazzo dei Conservatori.

A Monumental Exhibition

For the first time, these six masterpieces, each a testament to the vibrant artistic legacy of the Adriatic region, will be displayed together in Rome. The works, which include five large religious altarpieces and one smaller tempera on wood, span key periods of Italian art history from the late Gothic to the Baroque.

Each painting reflects the spiritual, cultural, and artistic richness of Ancona, a city that played a vital role in commissioning some of the greatest works of the Italian Renaissance and beyond. The exhibition also emphasizes Ancona’s significance as a cultural crossroads where Venetian and local artistic traditions merged during the 15th to 17th centuries.

The Highlights: Tiziano’s Early Masterpiece and More

• Tiziano Vecellio’s Pala Gozzi (1520):

This monumental work is Tiziano’s first signed and dated painting, crafted when he was in his early thirties. Commissioned by Dubrovnik merchant Luigi Gozzi, the painting reflects the interconnectedness of Venice, Ancona, and Dubrovnik.

Pala Gozzi portrays the Virgin Mary and Christ Child surrounded by angels, with Saints Blaise and Francis in attendance. Notable for its vivid realism and dynamic composition, the painting incorporates the Venetian skyline in the background, symbolizing the ties between the Adriatic cities.

• Olivuccio Ciccarello’s The Circumcision of Jesus (1430–1439):

A Gothic masterpiece, this panel originally formed part of a larger triptych. Its intricate architectural details and layered narrative bring the biblical scene to life, showcasing the artist’s role in revitalizing Ancona’s artistic tradition during the late medieval period.

• Carlo Crivelli’s Madonna and Child (1480):

A small yet striking painting, this work exemplifies Crivelli’s mastery of ornate decoration and symbolism. The Madonna’s gilded robe and the Christ Child’s gestures are laden with Christian allegory, such as the goldfinch symbolizing the Passion and the fig branch representing salvation.

• Tiziano Vecellio’s Crucifixion (1558):

A later masterpiece by Tiziano, this work explores the emotional intensity of the crucifixion with dramatic lighting and a vertical composition that draws the viewer into the anguish of the scene. The nighttime setting amplifies the pathos, making it one of Tiziano’s most powerful religious works.

• Lorenzo Lotto’s Pala dell’Alabarda (1539):

Commissioned for Ancona’s Sant’Agostino church, this altarpiece is rich in symbolism and local significance. The inclusion of saints tied to the patron’s family and the city reflects the civic pride of Ancona during a time of recovery and renewal.

• Guercino’s Immaculate Conception (1656):

A Baroque depiction of the Virgin Mary set against a serene marine backdrop, possibly inspired by the Bay of Ancona. Guercino’s naturalistic approach and the painting’s devotional focus mark a shift from earlier Tridentine iconography.

Ancona’s Cultural Legacy

The exhibition highlights the pivotal role of Ancona as a cultural hub during the Renaissance and Baroque periods. As a city that commissioned works from renowned artists such as Tiziano and Lotto, Ancona became a repository of artistic innovation influenced by Venetian traditions and local sensibilities.

The Pala Gozzi, for example, links Venice’s artistic dominance with the Adriatic’s spiritual devotion. Its combination of Venetian architecture and Ancona’s religious imagery underscores the city’s unique position as a bridge between regions.

Similarly, Crivelli’s Madonna and Child epitomizes the fusion of Venetian elegance with Marche’s distinctive artistic style. Lotto’s Pala dell’Alabarda reflects the city’s resilience and civic pride during a tumultuous period, making the work a symbol of Ancona’s historical identity.

Curatorial Vision and Collaboration

The exhibition is curated by Luigi Gallo, Director of the Galleria Nazionale delle Marche, and Ilaria Miarelli Mariani, Director of the Capitoline Museums. It represents a collaborative effort between Rome and Ancona, involving institutions such as the Pinacoteca Podesti, Marche Region, and Urbino’s Ducal Palace.

The layout has been meticulously designed to enhance the visitor experience. Special lighting reveals not only the masterpieces’ front-facing details but also the hidden sketches and annotations on the reverse, providing a deeper understanding of the artists’ creative processes.

A Prelude to Jubilee Celebrations

As part of Rome’s preparations for Jubilee 2025, this exhibition underscores the sacred role of art in fostering spiritual reflection and cultural exchange. Promoted by Roma Capitale and supported by the Vatican’s Jubilee Committee, the event also highlights the enduring relevance of religious art in contemporary times.

The Future of the Pinacoteca Podesti

The exhibition also marks the beginning of a broader initiative to elevate Ancona’s Pinacoteca Podesti to national prominence. Plans are underway to reorganize the gallery, which was established in the postwar period and holds a rich collection of works saved from destruction during World War II.

The Pinacoteca Podesti owes much of its preservation to figures like Pasquale Rotondi, who safeguarded Italy’s cultural heritage during wartime. This exhibition honors that legacy while setting the stage for a revitalized appreciation of Ancona’s artistic treasures.