Galleria Carlo Orsi

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Strolling through the masterpieces of Palazzo Barberini — where history, devotion, and human drama unfold on canvas. Amo...
01/05/2026

Strolling through the masterpieces of Palazzo Barberini — where history, devotion, and human drama unfold on canvas.

Among them, “Massacre of the Innocents” by Niccolò Circignani (Il Pomarancio), a visceral and theatrical interpretation of one of the most tragic biblical narratives. His composition captures chaos and anguish with striking intensity, reflecting the expressive force of late Renaissance painting.

Alongside works attributed to masters such as Perugino and Sandro Botticelli, these paintings remind us how art preserves collective memory — transforming suffering, faith, and beauty into something timeless.

Back in Turin for“The Golden Hour. L’oro nell’arte dal figurativo all’astratto” ✨ On view, two gold-ground panels by Zan...
29/04/2026

Back in Turin for
“The Golden Hour. L’oro nell’arte dal figurativo all’astratto” ✨

On view, two gold-ground panels by Zanetto Bugatto, on loan from our collection.
Across centuries, gold shifts in meaning and function: from a sacred, immaterial ground in early painting to a conceptual device, a surface, a gesture within contemporary practices. The exhibition unfolds as a transhistorical dialogue, bringing together distant temporalities and visual vocabularies.
From early masters such as Sano di Pietro to the practices of Armando Marrocco, Luigi Ontani, Pier Paolo Calzolari, Man Ray and Francesco Vezzoli.

A cross-temporal trajectory in which gold operates not as ornament, but as a language in itself.

Spazio Ersel, Turin
April 23 – May 22, 2026

Spazio Ersel, Milan
June 5 – July 10, 2026

Photo: Andrea Guermani

In the heart of the Fuorisalone, among installations and temporary architectures, historic courtyards and gardens also b...
24/04/2026

In the heart of the Fuorisalone, among installations and temporary architectures, historic courtyards and gardens also become an active part of the city’s route for a week — often crowded, but all the more vibrant because of it.
During Milan Design Week, we selected some of these settings:
At the Brera Botanical Garden, “The Garden of the Hesperides” by Annabel Karim Kassar for ANNAKA, together with Rubner Haus and ABS Group, explores the relationship between nature and construction. Alongside it, “Harmony is Here” by Irritec with Davison addresses the theme of responsible innovation through a flowering garden.
In the 16th-century Palazzo Landriani, home to the Istituto Lombardo Accademia di Scienze e Lettere, Dior’s intervention is set within a historic context, creating a direct dialogue between heritage and the contemporary.
At the Chiostri di San Simpliciano, “Gucci Memoria” traces 105 years of the Maison through a project that brings together archive and identity.
At Palazzo Citterio, “When Apricots Blossom” reinterprets the material and environmental heritage of the Aral Sea region and Karakalpakstan through newly commissioned contemporary design works. The exhibition unfolds across the Ipogeo Stirling and the historic courtyard, where a temporary pavilion reshapes the space, drawing inspiration from a poem by Hamid Olimjon — an image of resilience and continuity tied to the blossoming apricot tree.
A journey through different places, shaped by a constant flow of visitors, where design becomes part of the city’s fabric.

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At the Musei Reali di Torino, the exhibition dedicated to Orazio Gentileschi remains on view, now extended until May 3. ...
20/04/2026

At the Musei Reali di Torino, the exhibition dedicated to Orazio Gentileschi remains on view, now extended until May 3.
“Orazio Gentileschi. Un pittore in viaggio”, curated by Annamaria Bava and Gelsomina Spione, restores the artist to his rightful place in 17th-century Europe: one of the most refined and modern figures of his time, admired by his contemporaries alongside Caravaggio, Peter Paul Rubens and Anthony van Dyck.
The exhibition traces the thread of travel — from Pisa to Rome, from Genoa to the courts of Paris and London — as a key to understanding an artistic path shaped by continuous transformation: from late Mannerism to a luminous and spiritual naturalism, and ultimately to a painting style of extraordinary elegance and modernity.
As early as 1914, Roberto Longhi described him as “the most marvelous tailor and weaver ever to have worked among painters”: a remarkably refined sensitivity to the textures of light and fabric, translated into a pictorial language defined by measured elegance and almost sartorial precision.

A selection of shots from the exhibition “Van Dyck. The European” Four hundred years later, Anthony van Dyck returns to...
16/04/2026

A selection of shots from the exhibition “Van Dyck. The European”

Four hundred years later, Anthony van Dyck returns to Genoa, the center of his Italian experience and a pivotal place in the development of his visual language.

Shaped by Antwerp, Genoa and London, his work moves across geographies and cultures. From Rubens’s influence in Antwerp to the reinvention of aristocratic portraiture in Italy, and finally to the refinement of court portraiture in London, van Dyck constructs a visual language that is both elegant and political.

In Genoa, his monumental and carefully composed portraits redefine identity as image—presence, status, representation—in dialogue with the great tradition of Titian.

Beyond portraiture, the exhibition also reveals the breadth of his practice, from allegorical and mythological subjects to religious works, tracing the complexity of an artist whose gaze still resonates today.

Today, at the Biblioteca Nazionale Braidense, the presentation of the volume dedicated to the Cronaca Crespi took place....
09/04/2026

Today, at the Biblioteca Nazionale Braidense, the presentation of the volume dedicated to the Cronaca Crespi took place.
An important illuminated manuscript acquired in May 2024, the Cronaca Crespi—created by Leonardo da Besozzo—represents a unique testimony: a faithful copy of a celebrated cycle of frescoes by Masolino da Panicale for Palazzo Orsini in Rome, now lost.
The manuscript stands out for its exceptional state of preservation and its extraordinary decorative richness: entirely illuminated on a precious lapis lazuli blue ground, it features over three hundred figures drawn from the Bible, classical mythology, and medieval tradition, shaping a visual chronicle that narrates the history of humanity through exemplary figures.
An emblematic document of the transition from the Middle Ages to the Renaissance, reflecting both the evolution of pictorial language and a new approach to historical narrative.
The volume, edited by Claudia Daniotti and Paolo Sachet, offers a critical edition accompanied by contributions from Lorenzo Colombo, Anna Delle Foglie, Andrea Mattiello, and the editors themselves.
A project made possible thanks to the support of the Associazione Amici di Brera.

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The sheer variety and striking realism of the plates and food in Daniele Crespi’s Cenacolo, at the Pinacoteca di Brera, ...
06/04/2026

The sheer variety and striking realism of the plates and food in Daniele Crespi’s Cenacolo, at the Pinacoteca di Brera, are remarkable.

It’s through these details that the scene’s spiritual intensity feels grounded, immediate, and real.

In front of the Pietà by Giulio Cesare Procaccini, what strikes you first is how human and tangible the pain feels.In Ch...
03/04/2026

In front of the Pietà by Giulio Cesare Procaccini, what strikes you first is how human and tangible the pain feels.
In Christ’s body, shaped by light, you can sense the full tension of the Baroque: an almost otherworldly beauty, suspended between flesh and spirit. The Virgin is not only a mother, but a presence that receives and supports, while the drama becomes intimate, restrained, deeply human.
Created in the early 17th century and now housed at the Museo Diocesano di Milano, this work belongs to the artist’s mature phase, where anatomical research and emotional intensity merge into a composition that is both essential and powerful.
Here, pain is not spectacle—it is contemplation.

In New York, at the Metropolitan Museum of Art, “Raphael: Sublime Poetry” is one of those exhibitions truly worth taking...
27/03/2026

In New York, at the Metropolitan Museum of Art, “Raphael: Sublime Poetry” is one of those exhibitions truly worth taking a moment for.
The show traces Raphael’s entire career, from Urbino to Florence to Rome, presenting him not just as an icon of the Renaissance, but as an artist in constant evolution. Drawings, studies and variants open a window onto his creative process, shaped by revisions, balance and continuous research.
It is also interesting to see his work recontextualized within his time, in dialogue with figures such as Perugino, Leonardo da Vinci and Giulio Romano — a network of influence, exchange and continuity that shaped his vision.
With over 200 works, including paintings, drawings, and tapestries, many rarely seen together, this is a unique opportunity to experience the Renaissance up close and to explore the artistic journey of a true genius.

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1. The Virgin and Child with Infant Saint John the Baptist (The Alba Madonna), National Gallery of Art, Washington
2. Portrait of a Lady with a Unicorn, Galleria Borghese, Rome
3. Portrait of Bindo Altoviti, National Gallery of Art, Washington
4. Studies of Two Apostles for the Transfiguration, Ashmolean Museum, Oxford

In Jardin des Tuileries, Vittorio Matteo Corcos captures a moment of everyday life in late 19th-century Paris.The scene ...
24/03/2026

In Jardin des Tuileries, Vittorio Matteo Corcos captures a moment of everyday life in late 19th-century Paris.

The scene is built with balance and simplicity: soft colors, diffused light, and a composition that almost recalls a photographic snapshot. The detail of the horse in the foreground introduces a dynamic element, as if caught just as it enters the frame.

Less known for his landscapes than for his celebrated female portraits, Corcos reveals here a different sensitivity: an attention to the everyday and to the quiet grace of simple things, conveying with restraint the atmosphere of modern life.

📷

Vittorio Matteo Corcos
(Livorno, 1859 – Florence, 1933)
Jardin des Tuileries
Oil on panel, 46 × 37 cm
Signed lower left: “V. Corcos”

Not all forms of education are linear.In this painting, Mercury’s gesture remains suspended:between correction and impul...
19/03/2026

Not all forms of education are linear.
In this painting, Mercury’s gesture remains suspended:
between correction and impulse, between teaching and impatience.
On the occasion of Father’s Day, we have chosen a work that speaks precisely to this subtle space:
the one where we learn — and grow — also through conflict, error, and attempt.
Here, mythology becomes intimate, almost domestic.
And fatherhood ceases to be a role, becoming instead a human gesture: imperfect, alive.

📷 Anton von Maron
The Education Of Cupid
Oil on canvas, 200 x 153.1 cm, signed and dated on the lower left: Antonius de Maron pingebat. Romae Anno. 1801

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