{"id":10834,"date":"2021-01-28T08:12:37","date_gmt":"2021-01-28T08:12:37","guid":{"rendered":"https:\/\/galleriaborghese.beniculturali.it\/en\/?post_type=exhibition&p=10834"},"modified":"2026-03-16T13:24:48","modified_gmt":"2026-03-16T13:24:48","slug":"balliamo-guido-reni-a-roma-danza-e-paesaggio","status":"publish","type":"exhibition","link":"https:\/\/galleriaborghese.cultura.gov.it\/en\/exhibition\/balliamo-guido-reni-a-roma-danza-e-paesaggio\/","title":{"rendered":"GUIDO RENI AND ROME. NATURE AND DEVOTION"},"content":{"rendered":"
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From March 1st to May 22nd 2022, the Galleria Borghese opens the exhibition Guido Reni and Rome: Nature and Devotion<\/i>, the first of a series of international exhibitions dedicated to the Master of the Italian 17th century.<\/u><\/u><\/span><\/p>\n

<\/u>\u00a0<\/u><\/span>The exhibition revolves around Reni\u2019s painting Country Dance (c. 1605), which re-entered the Museum\u2019s collection a year ago. Part of Cardinal\u00a0Scipione\u2019s<\/span>\u00a0collection, mentioned from the beginning of the 17th century in the old inventories, sold in the 19th century, and considered lost until it reappeared in 2008 on the London antique market as a work by an anonymous Bolognese, the painting \u2013 appropriately authenticated \u2013 was reacquired by the Galleria in 2020. In addition to constituting an important historical, integral part of the Museum\u2019s heritage, its presence in the rooms of the\u00a0pinacotheca<\/span>\u00a0next to the other paintings of the collection highlights the crucial importance of the Borghese patronage for Guido Reni and provides an opportunity to reflect on the painter\u2019s relationship with rural themes and landscape painting, which up to now have been considered \u201cextraneous\u201d to his production.<\/u><\/u><\/span><\/p>\n

<\/u>\u00a0<\/u><\/span>Guido Reni and Rome: Nature and Devotion<\/span><\/i>, through the display of over 30 works, aims to reconstruct \u2013 starting with Reni\u2019s interest in landscape painting compared to other painters active in Rome in the early 17th century \u2013 the first years of the artist\u2019s stay in Rome, his enthusiastic study of antiquity and the Renaissance, his stupefaction regarding the painting of Caravaggio \u2013 whom he met and frequented \u2013 and his relations with his patrons.<\/u><\/u><\/span><\/p>\n

<\/u>\u00a0<\/u><\/span>The exhibition itinerary starts on the ground floor, in the large entrance hall, with 4 monumental altarpieces\u00a0\u00a0\u2013 the\u00a0Crucifixion of Saint Peter<\/i>\u00a0(1604-5), the\u00a0Trinity with the Madonna of Loreto<\/i>\u00a0and the Patron, Cardinal Antonio Maria Gallo<\/i>\u00a0(1603-4), the\u00a0Martyrdom of Saint Catherine of Alexandria<\/i>\u00a0(c. 1606), and the\u00a0Martyrdom of Saint Cecilia<\/i>\u00a0(1601) \u2013 that highlight the artist\u2019s ability, already developed in the years preceding his arrival in Rome, to measure himself in this genre, to move people by the solemnity and power of his perfect figures. They also tell us a lot about Reni\u2019s relations with his patrons: Paolo Emilio\u00a0Sfondrato<\/span>, Antonio Maria Gallo,\u00a0Ottavio<\/span>\u00a0Costa, and Pietro\u00a0Aldobrandini<\/span>.<\/u><\/u><\/span><\/p>\n

In the adjacent rooms, works such as the\u00a0Massacre of the Innocents<\/i>\u00a0(1611) and\u00a0Saint Paul Reproaches the Penitent Saint Peter<\/i>\u00a0(c.1609) confirm that Reni\u2019s painting in Rome, as well as somewhat later \u2013 such as\u00a0Lot and His Daughters<\/i>\u00a0and\u00a0Atalanta<\/i><\/span>\u00a0and\u00a0Hippomenes<\/span><\/i>\u00a0(1615-20) \u2013 is based on\u00a0\u00a0a strong attraction to the expertise of the sculptor, as shown in the position of the bodies in space, the three-dimensional concreteness of the gestures, and the facial expressions, which masterfully capture forever a specific emotion.<\/u><\/u><\/span><\/p>\n

<\/u>\u00a0<\/u><\/span>On the second floor, in the second part of the exhibition, generous loans and the Galleria\u2019s exceptional collection allows itineraries and digressions around the landscape theme and the Galleria\u2019s latest acquisition, the\u00a0Country Dance<\/i>. To highlight the practice of landscape painting in Rome in the first decade of the 17th century, on display in the\u00a0Lanfranco<\/span>\u00a0Room are several of the Emilian prerequisites: from the\u00a0Landscape with Deer Hunt<\/i>\u00a0by Niccol\u00f2\u00a0dell\u2019Abate<\/span>\u00a0to the\u00a0\u00a0Country Fete<\/i>\u00a0(1584) by Agostino Carracci, a few paintings by Paul\u00a0Bril<\/span>\u00a0from the Galleria\u2019s collection, and\u00a0Landscape with Arianna Abandoned<\/i>\u00a0and\u00a0Landscape with\u00a0Salmacis<\/span>\u00a0and Hermaphroditus<\/i>\u00a0(c. 1606-8), two of the six landscapes with mythological figures by Carlo\u00a0Saraceni<\/span>, formerly part of the Farnese collection, from the\u00a0Capodimonte<\/span>\u00a0Museum.<\/u><\/u><\/span><\/p>\n

Then there are several late, literary experiments by Bolognese painters, from the four round paintings by Francesco\u00a0Albani<\/span>\u00a0\u2013 landscapes inhabited by goddesses and nymphs executed in 1621 for\u00a0Scipione<\/span>\u00a0Borghese \u2013 to the\u00a0Landscape with Silvia and the Satyr<\/i>\u00a0(1615) by Domenichino, from the Bologna\u00a0Pinacotheca<\/span>, showing that such interest continued in the decades subsequent to those first intense years of the century.<\/u><\/u><\/span><\/p>\n

<\/u>\u00a0<\/u><\/span>The exhibition is accompanied by a catalogue published by\u00a0Marsilio<\/span>, with texts by, among others, Daniele\u00a0Benati<\/span>,\u00a0Raffaella<\/span>\u00a0Morselli<\/span>. and Maria Cristina\u00a0Terzaghi<\/span>: an innovative interpretation of the Master\u2019s work based on a scholarly study of Reni as a landscape painter.<\/u><\/u><\/span><\/p>\n

<\/u>\u00a0<\/u><\/span>With the aim of allowing the greatest possible access to the exhibition and of supporting cultural consumption, the Galleria Borghese has decided to not apply any surcharge on tickets, which thus continues to cost the same, while allowing access to both the exhibition and the permanent collection.<\/u><\/u><\/span><\/p>\n

<\/u>\u00a0<\/u><\/span>To find out more about Guido Reni's painting\u00a0Country dance<\/i>, visit this page<\/a><\/span><\/p>\n

Would you like to discover the masterpieces of Guido Reni from his Roman years located in other parts of the city? On this page<\/a>\u00a0you will find all the initiatives<\/p>\n

 <\/p>\n<\/div>\n<\/div><\/div><\/div><\/div>

\n\t\t\t\n\t\t\n\t\t\t\n\t\t\tPress release\t\t<\/span>\n\t\t\t<\/a>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

From March 1st to May 22nd 2022, the Galleria Borghese opens the exhibition Guido Reni and Rome: Nature and Devotion, the first of a series of international exhibitions dedicated to the Master of the Italian 17th century. \u00a0The exhibition revolves around Reni\u2019s painting Country Dance (c. 1605), which re-entered the Museum\u2019s collection a year ago. […]<\/p>\n","protected":false},"author":5,"featured_media":10689,"menu_order":23,"template":"","categories":[14],"class_list":["post-10834","exhibition","type-exhibition","status-publish","has-post-thumbnail","hentry","category-passate"],"acf":[],"yoast_head":"\nGUIDO RENI AND ROME. 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