Camillo Boccaccino between the Sacred and the Profane

Considered the greatest genius of the Cremona school, Camillo Boccaccino, the mannerist painter is the protagonist of the sixth dialogue on the program at the Pinacoteca of Brera. His Madonna col Bambino in Gloria con i Santi Bartolomeo, Giovanni Battista, Alberto da Trapani e Girolamo, from 1532, belonging to the Carmelite church of San Bartolomeo in Cremona, today at the Pinacoteca of Brera, considered one of the most significant compositions of the painter, with it citations from the masters of the classicism of the 1500s, will be placed in “dialogue” with other works. On one hand, Venere e Amore, from the Ruggero Poletti Collection, of profane ilk, while on the other, Amore che si Specchia nello Scudo (1532-1537), from a private collection, and finally, Venere e Amore by Giulio Cesare Procaccini (1615-1620), arriving from France to document the persistent allure exerted, on the successive generation as well, of the quite elegant nude woman on a lawn. It will be a new dialogue in which visitors are invited to participate and that, differing from preceding ones, which conceived of a direct juxtaposition of the works, invites the spectator to wander, experimenting with echoes and faint reminiscences, moving from one side of the hall to the other.
Samantha De Martin - © 2018 for Bvlgari Hotel Milano