Rome, Bologna, Naples and the revolution of the gaze around 1580 -1700

Caravaggio, the Carracci, Artemisia Gentileschi and the Guercino renew painting through two complementary paths: dramatic truth of the living model and great classical order nourished by drawing.

Italian Baroque took shape between the 1580s and the 17th century in several connected but distinct centers: Rome, Bologna, Naples, Florence, Genoa and Venice. The Carracci play a founding role in Bologna. Their academy combines drawing from the living model, study of nature and classical culture. In Rome, Annibale Carracci created the Farnese gallery, where figures, feigned architecture and mythology build a decisive setting for Europe. At the same time, Caravaggio proposed a more radical path. At the same time, he brought the figures closer to the spectator, used contemporary models and made directed light a narrative event. He brought the figures closer to the viewer, used contemporary models and made directed light a narrative event. He quickly spread across Italy and beyond. Artemisia Gentileschi assimilates this language without limiting herself to imitation. In Esther in front of Ahasuerus, the biblical story becomes physical theater: fainting, gestures and fabrics reflect the risk taken by the heroine. The Guerchin, active between Cento, Bologna and Rome, combines chiaroscuro, robust figures and emotional movement in his youth before evolving towards a more classical clarity. The Resurrection of Lazarus shows the ability of the Baroque to concentrate several reactions around a miracle. Caravaggio's portrait of Alof de Wignacourt by Caravaggio connects armor, page and authority in a dark space. Caravaggio's portrait of Alof de Wignacourt shows the ability of the baroque to concentrate several reactions around a miracle. Caravaggio's portrait of Alof de Wignacourt shows the ability of the baroque to concentrate several reactions around a miracle. Caravaggio's portrait of Alof de Wignacourt shows the ability of the baroque to concentrate several reactions around a miracle. Caravaggio's portrait of Alof de Wignacourt shows the ability of the baroque to concentrate several reactions around a miracle. Caravaggio's portrait of Alof de Wignacourt shows the ability of the learned and sensual mythological. The collection therefore reveals less a unique style than a fruitful debate between nature and ideal, dramatic moment and scholarly composition, easel painting and grand decor. The "Italian Baroque" selection notably compares Esther in front of Ahasuerus - Artemisia Gentileschi and Alof de Wignacourt (1547-1622), grand master of the Order of Malta from 1601 to 1622, and her page - Caravaggio Caravaggio. His reading favors atmosphere.

Italian Baroque was born from a productive tension: Caravaggio placed reality under a cutting light, while the Carracci reorganized nature and Antiquity in a great classical theater.