Palazzo Farnese under restoration from March
A new splendor for the "scandalous" frescoes of the Farnese Gallery
Annibale Carracci, Trionfo di Bacco e Arianna, c.1597-1602
E.B.
20/02/2014
Rome - The renovation of the Gallery painted by the Carracci brothers in the prestigious Palazzo Farnese, the French embassy, will begin in March 2014.
The World Monuments Fund, the leading independent organization dedicated to saving the world's most treasured places, will sponsor the works aimed to repair the vault and the mural paintings.
The Gallery is considered by many as a small Sistine Ceiling for the quality of its ornaments, painted between 1597 and 1608 by Annibale and Agostino Carracci: a sort of tribute to Michelangelo, who succeeded Antonio da Sangallo in completing the architectural design of the building.
The fresco cycle that will gain a renovated splendor depicts subjects inspired by Ovid's Metamorphosis. Back in the late 16th century they shocked the public opinion for their profane character, chosen for the embellishment of a cardinal's palace right after the Counter-Reformation age.
In a play of volumes and depths, where marble and bronze are nothing more than tromp-l'oeil paintings, renowned scenes from "The Loves of the gods" stand out, such as the "Triumph of Bacchus and Ariadne", portrayed with playful and irreverent tones.
The World Monuments Fund, the leading independent organization dedicated to saving the world's most treasured places, will sponsor the works aimed to repair the vault and the mural paintings.
The Gallery is considered by many as a small Sistine Ceiling for the quality of its ornaments, painted between 1597 and 1608 by Annibale and Agostino Carracci: a sort of tribute to Michelangelo, who succeeded Antonio da Sangallo in completing the architectural design of the building.
The fresco cycle that will gain a renovated splendor depicts subjects inspired by Ovid's Metamorphosis. Back in the late 16th century they shocked the public opinion for their profane character, chosen for the embellishment of a cardinal's palace right after the Counter-Reformation age.
In a play of volumes and depths, where marble and bronze are nothing more than tromp-l'oeil paintings, renowned scenes from "The Loves of the gods" stand out, such as the "Triumph of Bacchus and Ariadne", portrayed with playful and irreverent tones.
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