URBINO – Following the opening of the first six new premises in early April and the inauguration of the exhibition “Federico da Montefeltro and Francesco di Giorgio: The Crossroads of Art in Urbino“Last June 23, July 14, the complete museum building will be presented on the second floor of the National Gallery of the Marche which is based on The Ducal Palace in Urbino.
At the inauguration of the western wing, with the 8 rooms dedicated to painting from the sixteenth to the eighteenth century, the landscape, the portrait, the Albani pontificate and the Volponi collection, the director general of the state museums, Massimo Osanna and the director of the National Gallery will talk about Marches , Luigi Gallo.
A museumization necessitated by the increase in the Gallery’s collections
The extensive expansion and rationalization of the museum spaces of the National Gallery of the Marche became necessary by the increase in the collections and especially by the deposition of the rich collection of the Cassa di Risparmio di Pesaro. The latter consists of about 200 paintings, ranging from the fifteenth century to the present, all from the Marche region, and about 200 ceramics, the production of which – from the fifteenth century onwards – represents an excellence of the area.
“With the opening of the new premises on the second floor, space never became a museum – says the director Rooster – the process of rebuilding the entire building for cultural purposes, which began with the establishment of the National Gallery of the Marche, in 1912, under the leadership of a very young Lionello Venturi, has been completed. In addition to increasing the exhibition spaces and thus the amount of works on display, the operation includes spaces of great value in the itinerary that were not previously visible to the public, such as the southern torricino, the loggia and the Gallo terrace..
The works on display
The second floor will house the works from the mid-sixteenth to the eighteenth centuries. The route starts from kl rooms dedicated to Barocci and his followers. The core of his works has been further enriched in recent times thanks to the initiative of MiC 100 works return home. Two other works by Federico Barocci of Pinacoteca di Brera have entered (and will remain for 10 years) in the collections of the National Gallery of the Marche.
The same initiative has enriched this part of the museum with three other works, to dthat Simone Cantarini and one of Cristoforo Roncalli known as Pomarancio.
In the rooms on the second floor, there will also be works by other artists active in the Marche region, such as Orazio Gentileschi, or of Marche origin, such as Francesco Guerrieri and Giovan Battista Salvi known as Sassoferrato.
Here are some works by Zuccaripainters from Sant’Angelo in Vado, a locality close to Urbino – partly owned by the National Gallery in Marche and partly coming from the deposit of Cassa di Risparmio di Pesaro – and Federico Baroccian excellent painter from Urbino, whose National Gallery of the Marches houses a rich core of paintings and drawings; among the works of the sixteenth century also paintings by Tintoretto, Boscoli, Maso da San Friano, Naldini and others.
In the new premises on the second floor Volponi donationthe collection of the author Paolo Volponi donated – in two tranche – at the Galleria Nazionale delle Marche, in memory first of Roberto, son of the senator, who tragically died in a plane crash, therefore of Paolo himself, of the heirs. Apart from a very small group of works from the fourteenth-fifteenth century with a gold background, the collection consists mainly of works from the seventeenth century Roman with masterpieces by Guido Reni, Giovanni Lanfranco, Guercino, Mattia Preti, in addition to the various Ribera, Orazio Gentilello Ci, and Salvatore Rosa.
The section on the eighteenth century will focus on the pontificate of Clement XI, born Giovanni Francesco Albani, a native of Urbino, and who for this reason represented a particularly flourishing moment for the city of Marche from a cultural and artistic point of view.
The layout on the second floor also includes two thematic sections: one dedicated to the landscape and one to the portrait. Due to the peculiarities of the Montefeltro landscape, the former acquires a particularly significant connotation.
Other specific sections that have already been accommodated in the new premises are Drawing cabinetwhich provides an opportunity to exhibit, in addition two monumental cartoons by Domenichino and Carraccialso a selection of the graphic collection of the National Gallery of the Marche, which will alternately see – among others – numerous drawings by Barocci himself, of which the institute has a rich selection.
Then there is Pasquino Gallery and the adjoining space, which allows you to admire a rich exhibition of ceramics of which Montefeltro was a country of excellent production. This exhibition is part of the collections of the same gallery (which also includes a core of materials from the excavations carried out in the same ducal palace) and some deposits from private collections as well as a rich core of works from the founding of the Pesaro Savings Bank. .
The optimization of the spaces throughout the National Gallery
The restoration of the second floor triggered a number of interventions aimed at the functional optimization of the entire structure and in particular at the net improvement of accessibility and adaptation of security systems.
A new elevator – There was already one that made the first floor accessible to people with walking difficulties, but its location did not allow them to extend the trip to the second floor. Thus, at a point relatively close to the foregoing, another has been created which makes it possible to reach the second from above this first level. The location has made the impact on the ancient and valuable structure of the Fifth Century Palazzo Ducale very low: minimal demolition and manipulation of the original structure, adequate service for users who need the use of a climbing device beyond the stairs, secluded and discreet position with very low aesthetic effect.
This device also made it possible to solve a specific intersection in the building where it was possible to restore access to one of the views of Loggia dei Melaranci (previously closed to the public) and to provide a toilet on the first floor, which before the work had nothing.
The southern torricino – A system of similar improvements, albeit with inverted priorities, arises with the restoration of the southern torricino. Contrary to what was seen for the creation of the lift, here is the restoration of an architectural element of very strong iconic value, which also allowed an improvement of safety and an enrichment of the routes. Altered and degraded by improper use and inadequate intervention superimposed over the years, the southern torricino has undergone a real restoration which, in addition to regaining its use, has restored its original spatial and architectural values. Furthermore, it also acts as an additional escape route, so you can reach an open space that can be defined – in the fire regulations – as a “safe place”.
Gallo terrace – an atmospheric space architecturally defined by an elegant Renaissance loggia, which – again thanks to the small tower – will be accessible to the public. The latter, like the terrace below, were not accessible to the public due to the direct access they have from the showrooms, where the windows cannot be kept open for microclimatic reasons. By taking advantage of the torricino instead – explains a note – a real one is created Architectural promenade which, freed from the constraints of the exhibition spaces, allows you to fully enjoy a number of exceptional elements that characterize the Urbino Ducal Palace. Of course, the southern torricino will also be accessible upwards until you can see from the characteristic balcony that encloses the bottom of the top.