Galleria Carlo Orsi

Galleria Carlo Orsi Sculture e Dipinti Antichi

While the Louvre hosts a major exhibition dedicated to Martin Schongauer — the master engraver who influenced the entire...
03/06/2026

While the Louvre hosts a major exhibition dedicated to Martin Schongauer — the master engraver who influenced the entire European Renaissance — our gallery preserves a rare and fascinating example of the enduring legacy of his famous Temptation of Saint Anthony.

This Flemish panel, dating from the 16th–17th century, is based on Schongauer’s renowned engraving, which, according to Vasari and Condivi, was also copied by the young Michelangelo during his apprenticeship in the workshop of Domenico Ghirlandaio.

The grotesque, visionary demons attacking the saint, the fantastical invention of hybrid forms, and the almost metallic iridescence of the surfaces all speak to the extraordinary power of Northern European art to transform the unsettling into wonder.

Painted on oak, the work differs from the version in the Kimbell Art Museum in Fort Worth, often associated with Michelangelo’s early exercise. Its palette and details suggest an independent interpretation rather than a direct imitation.

The work also reflects a fundamental practice in Renaissance workshops: copying, reinterpreting, and reinventing great visual models of the past.

Already exhibited at Palazzo Reale in Milan, this panel reminds us today — as Paris rediscovers Schongauer at the Louvre — of the profound and lasting influence of his art, from Flanders to Florence, and ultimately to Michelangelo.



📷

Flemish school
Late 16th – early 17th century
The Torment of St. Anthony (after Martin Schongauer)
oil on panel, 82.6 x 58.5 cm

Martin Schongauer, Temptations of St. Anthony, engraving

From Martin Schongauer, Temptations of St. Anthony, tempera on panel, 47 x 34,9 cm, Fort Worth (Texas) Kimbell Art Museum

On the occasion of the Italian Republic Day, the gallery will be closed on Monday, June 1st and Tuesday, June 2nd.We loo...
29/05/2026

On the occasion of the Italian Republic Day, the gallery will be closed on Monday, June 1st and Tuesday, June 2nd.
We look forward to welcoming you again on Wednesday to continue our shared journey through art and beauty.

📷: Allegory and Effects of Good and Bad Government by Ambrogio Lorenzetti, Museo Civico di Siena

Considered one of the most extraordinary civic manifestos in the history of Italian art, Lorenzetti’s cycle translates into images the principles of good governance, justice, and civil harmony. The city flourishes, citizens live together peacefully, and the common good becomes the foundation of collective life. A 14th-century masterpiece that, centuries later, continues to resonate with the values at the heart of Republic Day.

Soon opening at the Pinacoteca di Brera, “Giovanni Agostino da Lodi. Un pittore itinerante tra Leonardo e Giorgione”, an...
26/05/2026

Soon opening at the Pinacoteca di Brera, “Giovanni Agostino da Lodi. Un pittore itinerante tra Leonardo e Giorgione”, an exhibition that brings renewed attention to one of the most enigmatic and compelling figures of the Italian Renaissance.
Active between Milan and Venice from the late 15th century to the early 16th century, Giovanni Agostino da Lodi absorbed a wide range of influences — from Leonardo and Bramantino to Bellini, Giorgione and Dürer — transforming them into a deeply personal, restless and refined pictorial language.
The exhibition brings together nearly 50 works, including autograph paintings and comparisons with major masters of the period, thanks also to loans from institutions such as the Musée du Louvre in Paris, the Prado Museum in Madrid, the National Gallery in London, the Gallerie dell’Accademia in Venice and the Kunsthistorisches Museum in Vienna.
An that seeks to restore complexity and centrality to an artist long appreciated mainly by scholars, yet essential to understanding the artistic exchanges between Milan and Venice at the beginning of the 16th century.
May 26 - September 13, 2026.
Curated by Maria Cristina Passoni and Cristina Quattrini.
, Milan

A few days in Venice during the Venice Biennale, a moment that always reminds us how the dialogue between past and prese...
14/05/2026

A few days in Venice during the Venice Biennale, a moment that always reminds us how the dialogue between past and present remains at the heart of the art world.
Among the exhibitions we visited was “See You” at Galleria Tommaso Calabro, a show centred on portraiture: an ancient yet endlessly relevant genre that continues to explore identity, memory, and the representation of the individual. It was fascinating to see how works from different periods and sensibilities still retain the power to confront us and perhaps even reveal something about ourselves.
We also spent time at the Fondazione Querini Stampalia and its exhibition “The Dreamer,” an immersive project unfolding through cinematic and theatrical atmospheres, where the historic collection enters into conversation with contemporary interventions, sound, textiles, and visual narratives. A thoughtful reflection on memory, cultural legacy, and our relationship with the future.
In places like these, old masters and contemporary art no longer belong to separate worlds — they simply continue speaking the same language.

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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