#frescoes

#frescoes

"We're constantly striving to strike a balance between work that respects academic rules of composition, established visual codes and good readability, with something more spontaneous, adventurous, playful, even naive."

The central nave of Sant'Agostino becomes the spine of the exhibition, as the designer divides the space using white, geometric volumes through freestanding architectural forms that visitors can move through.

One tenet of classical idealism is the idea that Roman and Greek statuary embodied an ideal of pure whiteness-a misconception modern sculptors perpetuated for hundreds of years by making busts and statues in polished white marble. But the truth is that both Greek statues and their Roman counterparts were originally brightly painted in riotous color.

The oil on canvas presents an unusual and dynamic composition of a serene Madonna alongside her energetic child with a reverent Saint John pressed up close in the painting's foreground.

Van Dyck's stay in Italy was pivotal to the development of his artistic language, above all because it accelerated his emancipation from the model of his master Rubens.

The veil covering Christ is extraordinary. It's impossible to understand how Sanmartino managed to create it. The veil defies explanation—for those who can see and for those who cannot. When you touch it, you can feel the veins pulsing beneath.