in collaboration with under the patronage of Press kit media partner Press release 16th February 2015

Raphael: the Madonna of Divine Love Pinacoteca Giovanni e Marella 17th March - 28th June 2015 press preview 16th March 2015, 11.30am

The Pinacoteca Giovanni e and the Soprintendenza speciale per il Polo Museale della città di Napoli e della Reggia di Caserta are glad to present the extraordinary unprecedented exhibition in of Raphael’s Madonna of Divine Love. The past years saw some important shows devoted to Raphael, focusing on the different periods of this painter’s artistic course. From 2004-05 National Gallery exhibition, to the one on the young Raphael in Urbino (2009), to the very recent shows devoted to the late Raphael at the Prado Museum (2012) and at the Louvre (2013), and there have been many occasions for study, research and criticism.

Another important event – according to Fabrizio Vona, former Superintendent of the Polo Museale di Napoli – once again brings Pinacoteca Agnelli and the Museum of Capodimonte together in a joint programme pro- moting our valuable art and culture heritage, a cooperation we hope may continue in the future.

The Capodimonte Museum has taken part with its paintings to these events, carrying out some important res- torations and examination campaigns that have significantly contributed to the understanding of Raphael’s complex and fascinating creative path, and namely regarding the well-known Madonna of Divine Love.

A wealth of knowledge on the painter’s creative process and technique has thus been collected, only partially explained in the largest monographic shows.

The exhibition at the Pinacoteca Agnelli offers the chance to fully assess the results of these studies, and, through the use of digital media showing the reflectographic analyses, examine – also for the public at large – the painting inner structure and the artist’s numerous variations and pentimenti throughout the making of this work, in close connection with drawings and preparatory sketches by the Urbino-born master from the foremost European graphic collections, such as two from the Albertina in Vienna and one from Lille Museum of Fine Arts.

During the exhibition the Education Department provides a series of activities and workshops for children and adults.

Marco Palmieri has designed the exhibition’s layout, the catalogue was published by Corraini Edizioni.

in collaboration with under the patronage of media partner Press office Info Silvia Macchetto Tuesday - Sunday, 10am - 7pm [email protected] Closed on Monday tel. +39 340 6350241 Tickets Lingotto € 10 full ticket via Nizza 230/103 € 8 reduction for groups, over65, conventions 10126 Torino € 4 reduction for schools, 6 - 16 years tel. + 39 011 0062713 free ticket for people with disabilities, www.pinacoteca-agnelli.it children 0 - 6 years and Torino+Piemonte Card

Raffaello Sanzio and workshop Madonna del Divino Amore Oil on board, cm 140 x 109 , Museo di Capodimonte Farnese collection, inv. Q 146

in collaboration with under the patronage of media partner LIST OF WORKS

Raffaello Sanzio and workshop Madonna of Divine Love Oil on board Naples, Capodimonte Museum, Farnese collection, inv. Q 146

Raffaello Sanzio St. Joseph on the right side (study for the Madonna of Divine Love) Red pencil Vienna, Albertina, inv. 235

Marcantonio Raimondi Madonna with Child, St. Elizabeth and St. John Copper engraving Vienna, Albertina, inv. DG1970/300

Raffaello Sanzio Study for a Madonna with Child Metalpoint on rose tinted paper Lille, Musée des Beaux-Arts, inv. PL 454

in collaboration with under the patronage of media partner The Madonna of Divine Love summary

Giorgio Vasari in the Life of Raphael had listed the Madonna of Divine Love amongst the best works of the mas- ter’s Roman period, made for Leonello Pio da Carpi Lord of Meldola and then passed on to his son, Cardinal Rodolfo.

Acquired by Cardinal Alessandro Farnese in 1565 after Rodolfo Pio’s death, it remained for almost a century – admired and repeatedly copied – in Rome in Palazzo Farnese, where it was once again mentioned in 1644 inventory, before being transferred to Parma in 1662 in the picture gallery of Palazzo del Giardino, and it then arrived in Naples after 1734 with Charles of Bourbon, who had inherited the collection of his mother Elisabetta Farnese.

The recent restoration of the Madonna of Divine Love (2012) and the campaign of scientific examination that preceded it have cast a new light on the quality of its executions and the painting refined composition, which was the result of a thought-out elaboration process certainly carried out by Raphael.

The work’s authorship, long considered one of the master’s masterpieces, had been questioned by most critics since the end of the 19th century.

The painting fortune had been greatly influenced by the presence in Capodimonte of another large drawing in scale with the panel, coming from Fulvio Orsini’s collection, attributed to Giovan Francesco Penni, believed to be the preparatory cartoon for the painting, which has led some critics to ascribe to his disciple the work’s invention as well. But recently carried out research has clarified beyond doubt that it is a copy on paper taken from the painting and not a preparatory cartoon for its execution. The reflectography has revealed on the panel an extremely elaborate and creative preparatory drawing, surely due to the master’s hand, and some substantial amendments made in the composition during the pictorial execution, attesting the painting authorship, already celebrated by Vasari in enthusiastic terms: «most mar- vellous in colouring, and of a singular beauty,» «painted with such force, and also with a delicacy so pleasing, that I do not think it is possible to do better.»

The restoration has shown the quality of the brushstrokes and the painting good state of preservation, recov- ering its refined colours and freeing the Madonna’s mantle from old repaintings distorting its volume. After restoration, the Madonna of Divine Love was displayed in the exhibition devoted to late Raphael (Prado, June September 2012 – Louvre, September 2012 - January 2013), where the attribution to Raphael was basically ac- cepted; as for the painting dating, that used to be placed in Raphael’s last years of activity, after 1518, we now concur on an earlier date, around 1516.

in collaboration with under the patronage of media partner The setting project by Marco Palmieri

The concept of the exhibition stems from the desire to create a custom made space around Raffaello’sMadonna del Divino Amore, shaping the surroundings starting from the painting itself.

The theme is that of maternal love, a Divine Love. Two women, a young one and an aging one, the Virgin Mary and Saint Elisabeth, are looking over two children who are interacting with each-other. The only adult male, Saint Joseph, is seen distant in the background.

The setting where the painting is exhibited is dark yet welcoming much like a mother’s womb, accessible through a single entrance: a long corridor which from a brightly lit external space leads into the internal room where the painting is shown.

The stark contrast in lighting, from brightness to a dim light, invites the eye of the spectators to adapt to the painting, which is the only element that is lit in the internal room, thus appearing like a true vision. The Madonna del Divino Amore is set frameless inside a niche. Right in front of it there is a basement, which sets a distance, protects it and summons the sacred nature of an altar. The whole space is shaped like a dodecagon, a regular polygon whose geometry was a favourite of Raffaello’s.

The main wall is slanted by an angle of fifteen degrees, recalling the same torsion that is shown in the painting by the four characters, who are also turning by the same angle away from the beholder.

Coming through the corridor and into the room the spectators therefore find the painting slightly off its frontal axis but they will face the characters directly: by turning to face the painting they will physically experience the same movement happening in the composition.

in collaboration with under the patronage of media partner Fondazione Pinacoteca Raffaello: la Madonna Attività Educative del Lingotto Giovanni del Divino Amore Educational Activities e Marella Agnelli Beatrice Zanelli, Ersilia Rossini

Fondatori Founders 17 marzo - 28 giugno 2015 Realizzazione Allestimento 17th March - 28th June 2015 Display Production Marella Caracciolo Agnelli Bond Srl Margaret Agnelli De Pahlen Pinacoteca Giovanni e Marella Agnelli Allestimento a parete opere Hanging Mostra in collaborazione tra Attitudine Forma Srl Exhibition in collaboration with Paolo Fresco Pinacoteca Giovanni e Marella Agnelli e Traduzioni Translations Gianluigi Gabetti Soprintendenza Speciale per il Patrimonio Jennifer Cooke Francesca Gentile Camerana Storico Artistico Etnoantropologico e per Franzo Grande Stevens il Polo Museale della Città di Napoli Realizzazione Video Alessandro Nasi e della Reggia di Caserta Video Concept and Production Art Media Studio, Firenze Comitato Direttivo A cura di Curated by Regia Direction Vincenzo Capalbo Board of Directors Fabrizio Vona, già Soprintendente e Marilena Bertozzi former Superintendent Presidente Onorario Angela Cerasuolo Trasporti Transports Honorary President Patrizia Piscitello Arterìa, LP Art, Marella Caracciolo Agnelli Marina Santucci HS Art Service Austria

Presidente President Direzione Organizzativa Assicurazione Insurance Ginevra Elkann Director of Organisation Willis, Kuhn & Bülow Marcella Pralormo Membri Members Un vivo ringraziamento ai prestatori Gianluigi Gabetti Progetto di Allestimento delle opere in mostra e, in particolare a John Elkann Exhibition Design A warm thank you to the lenders Lapo Elkann Marco Palmieri of the artworks and in particular to Filippo Beraudo di Pralormo Fabrizio Vona, Soprintendente Sergio Marchionne Immagine di Comunicazione Soprintendenza Speciale per il Patrimonio Communication Design Storico Artistico Etnoantropologico e per Segretario Secretary Pietro Corraini il Polo Museale della Città di Napoli e della Reggia di Caserta Gianluca Ferrero Segreteria Organizzativa Organisation Linda Martino, Direttrice Director Collegio Sindacale Emma Roccato Museo di Capodimonte

Board of Syndics Bruno Girveau, Conservateur Général Comunicazione e Social Media du Patrimoine et directeur du Palais Mario Pia, Presidente President Social Media & Communication des Beaux-Arts de Lille Luigi Demartini Anna Follo Cordélia Hattori, Chargée du Cabinet Pietro Fornier des dessins, Palais des Beaux-Arts, Lille Amministrazione Administration Direttrice Director Mara Abbà Klaus Albrecht Schröder, Direttore Director Albertina, Vienna Marcella Pralormo Ufficio Stampa Press Office Achim Gnann, Curatore Arte Italiana Silvia Macchetto Curator Italian Art Albertina, Vienna

Sonja Eiböck, Organizzazione Mostre Corporate Development Consultant e Prestiti Organisation of Exhibitions Paolo Landi and Loans Albertina, Vienna

in collaboration with under the patronage of media partner Catalogue Raphael: the Madonna of Divine Love

80 pages 17 x 24 cm ISBN 978-88-7570-490-2 price: 18 €

The Madonna of Divine Love was recalled by Giorgio Vasari in his Life of Raphael (1550) as being one of the most beautiful works of the great painter’s Roman period. The painting, preserved in the Capodimonte Museum, is due to arrive in Turin for the first time ever for its exceptional exhibition in the Pinacoteca Giovanni and Marella Agnelli. The volume that accompanies the exhibition is an up-to-date as well as exhaustive monograph on Raphael’s masterpiece. The critical contributions by the curators Angela Cerasuolo, Marina Santucci and Patrizia Pisci- tello, enriched with a precious iconographic apparatus, reconstruct the historiographic events surrounding the work in great detail, and present the results of the painting’s analysis and recent restoration, casting new light on the genesis of this cornerstone of Renaissance art.

in collaboration with under the patronage of media partner Raffaello: la Madonna del Divino Amore Raphael: the Madonna of Divine Love

Book design Pietro Corraini

© 2015 Pinacoteca Agnelli, Torino © 2015 Maurizio Corraini s.r.l. Tutti i diritti riservati alla Maurizio Corraini s.r.l. All rights reserved by Maurizio Corraini s.r.l.

Nessuna parte di questo libro può essere riprodotta o trasmessa in nessuna forma e con nessun mezzo (elettronico o meccanico, inclusi la fotocopia, la registrazione od ogni altro mezzo di ripresa delle informazioni) senza il permesso scritto dell’editore. No part of this book may be reproduced or transmitted in any form or by any means (electronic or mechanical, including photocopying, recording or any information retrieval system) without permission in writing from the publisher.

Testi a cura di Texts by Angela Cerasuolo, Patrizia Piscitello, Marina Santucci

Traduzioni di Translations by Jennifer Cooke

Un vivo ringraziamento ai prestatori delle opere in mostra e, in particolare a A warm thank you to the lenders of the artworks and in particular to il Ministero per i Beni e le Attività Culturali Albertina, Vienna Palais des Beaux-Arts, Lille

Fotografie Photographs Napoli, Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Napoli e della reggia di Caserta, su concessione del Ministero dei Beni e delle Attività Culturali e del Turismo © RMN-Grand Palais / Jacques Quecq D’Henri Pret © RMN-Grand Palais / Hervè Lewandowski London, The British Museum © Trustees of the British Museum Firenze, Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze, su concessione del Ministero dei Beni e delle Attività Culturali e del Turismo

L’editore e la Pinacoteca Agnelli sono a disposizione degli eventuali aventi diritto per le fonti non individuate. The publisher and the Pinacoteca Agnelli will be at complete disposal to whom might be related to the unidentified sources printed in this book.

Stampato in Italia da Printed in by Arti Grafiche Castello, Viadana, (Mn) marzo March 2015

Maurizio Corraini s.r.l. Via Ippolito Nievo, 7/A 46100 Mantova Tel. 0039 0376 322753 Fax 0039 0376 365566 e-mail: [email protected] www.corraini.com

in collaboration with under the patronage of media partner HOW TO REACH THE PINACOTECA

For those arriving from the Airport Torino Caselle and the highways Take the Tangenziale Sud and exit at Corso Unità d’Italia.

For those arriving by public transport Tram and bus 1- 18- 35 Subway Line 1, lingotto stop ⋅ On the website www.gtt.to.it all the informations. City Sightseeing stop number 5, of the Torino Inedita tour by City Sightseeing.

Parking Free parking for three hours to visitors (sector A, B, D, L). Visitors can present the ticket at the Pinacoteca for the obliteration. We remind all the visitors that parkings are unattended.

Access to the museum The entrance to the gallery is located at the bookshop Corraini, inside the Lingotto building, near the UCI Cinemas. The elevators in the bookshop lead to the 4th floor where you will find the ticket office.

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