Il Cinquecento a Firenze - Exhibition

Just opposite the British Institute's language centre is the Palazzo Strozzi: a grand and slightly imposing residence completed in 1539, which allegedly required the demolition of 12 separate buildings to accommodate its space. It is known nowadays, though, as an important exhibition venue, and from September until 21st January it is hosting 'Il Cinquecento a Firenze' (the 1500s in Florence). Such was the hype and ubiquity of posters that I headed there on Thursday evening, when it is open until 23:00. Thankfully, at a student's discount it was only 4€, but I would happily have paid much more had I known the sheer quality of both the artworks and their curation beforehand.

On entering the first room, we are greeted with Michelangelo's incomplete statue of the River God, which was meant as a Medici commission but abandoned by around 1527. Still, what remains of the restored torso of the work shows an incredible detail of the body's muscles and posture. Thus the bar was set rather high for the rest of the exhibition.

By virtue of the cinquecento focus, some space was given to explaining the context of the era in terms of art; that is, how the Council of Trent and Counter-Reformation affected the treatment of holy subject matter in the visual arts. In this way it was fascinating to see three takes on Christ's Deposition from the Cross by different major artists - Pontormo, Bronzino and Rosso Fiorentino - juxtaposed in one room with an almost triptych-like proximity. This room, also featuring Vasari's Immaculate Conception, was possibly my favourite for its focus on only four or five works in what was quite a large space. Further, the sparse character of the Strozzi rooms makes for an ideal backdrop to a rich colourful exhibition such as this; one is not distracted by excessive Baroque ceilings and furniture, but is instead guided solely towards the art, which heightens the viewer's engagement with such crucial works. 



Other rooms in the Palazzo were organised thematically, with one dedicated to portraits, one to mythology, for example. In terms of the latter, as well as the surprisingly sensual depictions of Classical culture (which, of course, would have been reigned in after the Council of Trent), there were some wonderfully preserved Giambologna bronze statues, such as Mercury in bronze and the Fata morgana in marble. In essence, the quantity and quality of superb artworks from the period is breathtaking, and, while I felt I made the most of the exhibition, I am already thinking of visiting again (and will possibly save up for the glossy exhibition catalogue!), I cannot recommend it highly enough.


 

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