Lights and shadows, the Neapolitan 600 after Caravaggio

(ANSA) - PRATO, DECEMBER 13 - A Christ with a beard and a hat who gently casts the red hair of the Magdalene, yet he does not lie and does not look at her, as if he did not see her, now far away, as her eyes, beautiful, cannot meet those he. There is so much of Caravaggio, at least in the light and shadows, in the carnality of the protagonists of Noli me tangere of Naples, Giovanni Battista Caracciolo, known as il Battistello, and there is already an awareness of the 'after' of a painting that Merisi's genius breaking the rules had now changed.
To this' after '', to the watershed that in the seventeenth-century Spanish painting, the golden age of art, created the passage of Caravaggio, a small, precious exhibition is dedicated to Prato- from December 14th to April 13th 2020 at Palazzo Pretorio - which investigates the dialogue between two collections, the very rich one of Palazzo Pretorio precisely and the most collected, but infinitely refined, put together in the last half of the last century by Giuseppe De Vito, and together tells, through the collection of works of art, history and riches, relations with Rome, with Naples and with the protagonists of the art of that time, of some families of Prato.
Two rooms in all in which the intimate setting tends to create the atmosphere of a living room, like underlining the curators Rita Iacopino and Nadia Bastogi, rich though very little known works, in some cases never seen, next to seventeenth-century atele of great fame and suggestion of the museopretory, for an exhibition accompanied by a rich catalog and a series of studies that have led to novelties for the history of the territory and that offer visitors a refined and interesting window on a fundamental moment of Italian painting.
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