ROME.- From March 20 to July 19, 2026, Rome takes a step back into the Renaissance with Vasari and Rome, a major exhibition at the Capitoline Museums that explores the deep and transformative relationship between Giorgio Vasari and the city that helped shape him.

Housed in Palazzo Caffarelli, the show is more than a retrospective—it’s a narrative journey into the life of a man who was not only a painter and architect, but also the first true historian of art. Through paintings, drawings, letters, and rare documents, visitors are invited to see how Rome became the foundation of Vasari’s artistic identity and the launchpad for his remarkable career.

A city that shaped a career

When Vasari first arrived in Rome in 1532, he was still a young artist, traveling in the circle of Cardinal Ippolito de’ Medici. What he found was a city in transition—still bearing the scars of the Sack of 1527, yet alive with creative energy.

Rome, at that moment, was a magnet for talent. Artists and thinkers from across Europe converged to study its ancient ruins and its modern masterpieces, from Raphael’s frescoes to Michelangelo’s Sistine Chapel. For Vasari, the experience was transformative.

The exhibition makes clear that Rome was not just another stop in his career—it was his first real workshop, a place where ideas, influences, and ambitions came together.

The many faces of Vasari

One of the strengths of the exhibition lies in how it presents Vasari as a truly multifaceted figure. He was not only producing art—he was observing, documenting, and interpreting the cultural world around him.

That perspective would eventually lead to his most enduring legacy: Lives of the Most Excellent Painters, Sculptors, and Architects, a groundbreaking work that shaped how generations understand Renaissance art.

Through this lens, Vasari and Rome reveals him as both participant and storyteller—someone deeply embedded in the artistic and political networks of his time.

Masterpieces and rare loans

The exhibition brings together more than 70 works, including paintings, drawings, engravings, and archival materials, thanks to loans from major institutions across Italy and beyond.

Among the highlights:

A Resurrection created with Raffaellino del Colle, offering insight into Vasari’s collaborative practice

The Resurrection of Christ from Siena, a powerful example of his mature style

A refined Portrait of a Gentleman from Genoa

Particularly striking are two works from the Monastery of Camaldoli:

The Nativity (1538), known as the “Night of Camaldoli,” painted with a delicate, almost Flemish attention to detail

The Agony in the Garden (1571), a deeply emotional piece from the final phase of his career

Together, these works trace the evolution of an artist constantly refining his vision.

Rome, power, and patronage

The exhibition also sheds light on the networks that sustained Vasari’s rise. In Rome, he connected with powerful patrons and influential figures such as banker Bindo Altoviti and collector Paolo Giovio.

Later, his career would be closely tied to papal commissions. Popes including Paul III, Julius III, and Pius V played a key role in elevating his status, entrusting him with major decorative projects across the city.

One of the defining moments of this relationship came with the decoration of the Sala Regia in the Vatican in 1572—an ambitious project that cemented his reputation as a leading artist of the Maniera Moderna.

Four chapters of a Roman story

The exhibition is organized into four sections, each corresponding to a different phase of Vasari’s time in Rome—from his early studies of antiquity to his later work in the Vatican.

This structure allows visitors to follow his journey step by step, understanding how each stay in the city contributed to his growth as both an artist and intellectual.

A living legacy

For the curators and organizers, the exhibition is also an opportunity to reflect on Vasari’s lasting impact. His writings helped define the very idea of the Renaissance, linking artists across generations into a coherent narrative.

As cultural officials in Rome have noted, without Vasari’s vision—and his ability to connect artistic experiences—our understanding of Renaissance Rome would be far more fragmented.

An immersive experience

Beyond the artworks, the exhibition includes audiovisual elements that guide visitors through Vasari’s Rome, along with accessible audio guides and tactile materials designed to broaden the experience for all audiences.

The result is an exhibition that feels both scholarly and approachable—rich in historical depth, yet engaging in its storytelling.