The study of Caravaggio’s painting is undoubtedly one of the most relevant, yet also the most delicate and challenging, aspects of art history. To present a survey of this type of painting in my London gallery holds significance not only in offering a glimpse into our culture at the heart of London, but also, through comparison, in deepening an understanding of themes that remain highly controversial to this day—without any pretension of infallibility.
The catalogue has been meticulously curated, featuring contributions from distinguished art historians such as Claudio Strinati, Nicola Spinosa, Riccardo Lattuada, Andrea de Marchi, and Anna Orlando, to name but a few.
The exhibition is structured around five thematic areas, each corresponding to a different geographical region. It begins in Rome, before expanding to Naples, then moving on to Tuscany, Genoa, and broader Europe.
It is particularly striking to observe that, in the selection of paintings I have chosen, the works of Italian masters are dominated by emotional expression, while those of the Northern masters are characterised by a decisive focus on analytical technique.
Some of the larger works would ideally require expansive spaces for display, which unfortunately London galleries often lack. I sincerely hope that my gallery will not diminish the essence of these works by their display in smaller rooms, but rather that the opportunity to view them together will serve as a catalyst for new insights into the fascinating era of painting exemplified by Caravaggio.