Palazzo Magnani Quadreria

After being appointed senator, Lorenzo Magnani commissioned the building construction at the end of the 16^th century. A testament to his family's social status, it was erected between 1577 and 1583, following the design planned by architect Domenico Tibaldi, later replaced by Floriano Ambrosini. In 1797, the Guidotti family inherited the structure and sold it in the second half of the 19^th century to the Malvezzi Campeggi family, whose coat of arms still adorns the facade.

In 1959, the bank Credito Romagnolo acquired the property and, in 1997, started a meticulous and thorough restoration project. They aimed to re-establish the original architectural layout reinstating the building's symbolic and representative significance.

Palazzo Magnani’s design offers a unique aesthetic. Inspired by Renaissance standards, it seamlessly integrates proportions, lighting, and spatial arrangements to create a harmonious whole. At the same time, it serves as a vessel for the symbolic meanings that Lorenzo Magnani sought to communicate through its construction.

At the centre of the building, the statue of Hercules Priapus stands out, providing the axis of symmetry of the entire structure. Crafted by the skilled hands of Gabriele Fiorini, this sculpture is located on the ground floor, within the Sala del Gigante, and it metaphorically represents its patron, Lorenzo Magnani, as the embodiment of the Greek hero.

Following the monumental entrance, on the left side, one can find the aristocratic rooms hosting the Quadreria di Palazzo Magnani. This museum boasts an exceptional collection of canvasses assembled over the years. Visitors can immerse themselves in the beauty of these rooms, which preserve artworks from the Emilian region ranging from the 16^th to the 20^thcentury, all free of charge. This arrangement enables to share the magnificence of these works with the city's inhabitants.

In 2017, this exhibition project underwent a complete renewal. Since then, the tour has been divided into two parts: the first section focuses on the master painters active in the Bolognese area from the 16^th to the 18^thcentury. The second part, located in a separate room, displays the works of artists from the 20^th century, including Giorgio Morandi's Landscape at Grizzana which stands out as a highlight.

Among the paintings preserved in the initial segment of the exhibition, Il risveglio di Venere by Giovanni de Luteri, also known as Dosso Dossi, captures visitors’ attention. Dating back to around 1525, this painting exhibits classical reminiscences while reflecting the artist's pursuit of harmony and Neo-Raphaelite beauty.

In the background of this large-scale artwork, one can spot Alfonso I d'Este, Duke of Ferrara, with whom Dosso collaborated during that period, and Laura Danti, the nobleman’s mistress after his wife’s death. It is believed they were the patrons who commissioned Dosso to paint this work.

In the same room, two remarkable paintings can be admired: The Holy Family with Saints John and Francis by Prospero Fontana and Judith with the Head of Holofernes by Agostino Carracci. The former, dating to the late 16^th century, exemplifies how Fontana masterfully blends the tridimensionality of sculptural volumes with a certain softness reminiscent of Parmigianino's paintings. In contrast, Carracci's artwork presents a rigorous and almost accurate interpretation of the biblical account. Judith, the focal point of the setting, holds the Assyrian king’s head with a detached attitude, offering a compelling depiction of this dramatic scene.

The Trinity, one of Guercino's masterpieces, created around the second decade of the 17^thcentury, adorns the next room. The artwork, distinguished by its majestic dimensions, exemplifies the artist's predilection for chiaroscuro contrasts, vibrant colours, and a naturalistic aesthetic. The perspective used suggests to scholars that it was originally crafted to embellish a chapel, allowing worshippers to view it from below.

In the same room, visitors can contemplate Fantastic Vision of St. Vincent, an early work by Ludovico Carracci. This painting exhibits experimental elements, particularly evident in the landscape and the finely detailed depiction of the saint, showcasing a blend of mannerist and anti-classical influences.

Moving on to the third hall, together with masterpieces by Luca Giordano and Antonio Carneo, one can enjoy Vision of St. Camillo de Lellis by Ubaldo Gandolfi. This painting serves as a clear representation of the artist’s style in the late 1760s, echoing the grand Venetian artists of the 18^th century, such as Tiepolo and Sebastiano Ricci. The use of intense and sophisticated colours, recalling Rococo influences, further enhances the visual impact of Gandolfi's masterpiece.

The gallery's collection available to the public includes paintings by Giuseppe Maria Crespi and his workshop, as well as masterpieces by Antonio Carneo and Marco Palmezzano. Within the section dedicated to contemporary artists, visitors can appreciate the works of Ennio Morlotti and Filippo de Pisis. Through the display of these captivating pieces, the exhibition offers a comprehensive representation of Italian art spanning from the 16^th to the 20^th century, allowing viewers to appreciate the richness and complexity of these periods.

Accessing the piano nobile, visitors are greeted by the breathtaking and renowned frescoes by the Carracci, which adorn the Ballroom. The decorative cycle of frescoes in this hall, depicting the History of the Foundation of Rome, was painted between 1589 and 1592 and stands as one of the supreme expressions of the work of Ludovico, Annibale, and Agostino Carracci.

Hailing from Bologna, they were relatives: Annibale and Agostino Carracci were brothers, while Ludovico was their cousin. They worked together and, in 1582, they established one of the most prominent schools in Bologna of their time, known as the Accademia degli Incamminati. Not only did they provide training to young artists, but they also demonstrated a keen understanding of the political and artistic climate of the city, surpassing the complexities of Mannerist painting.

The decorative structure of the Ballroom frescoes offers a glimpse into the various episodes of Roman history. The scenes are depicted on a structure reminiscent of an architrave, rhythmically spaced with false shelves. These support male sculptures, known as telamons, which bear the weight of the ceiling and are surrounded by putti and satyrs.

The attribution of specific scenes to each of the Carracci has been a topic of debate since ancient times. When questioned about the individual assignation of the frescoes, the artists replied: "We all made it."