The San Giovinale trilogy is 600 years old: it was executed by Masaccio on April 23, 1422, and for the first time of the day, he became the protagonist in an exhibition facing the great masters of his time. The exhibition was held inside the Masaccio Museum of Sacred Art, which it first promoted, and displays works by such artists as Beato Angelico, Masolino da Panicale and Filippo Lippi. The thread that unites them is mainly connected with the contemporary artists, all of them from the Florentine environment and lived between the end of the fourteenth century and the beginning of the fifteenth century. Journey summed up in the exhibition title itself: “A Comparison of Masaccio and the Masters of Renaissance Art to Celebrate the 600th Anniversary of the Trio San Giovinale”.
So far, the triple inscription is the same inscription that runs along the bottom edge of the work, The Madonna, crowned with the Child and Saints Bartolomeo, Biagio, Giovinale and Antonio Abate: General Domini MCCCCXXII A DI VENTITRE DAP (RILE). This is the first known work of Masaccio, considered revolutionary for that historical moment and identified by Antonio Bolucci «The panel in which we find the genetic code of the great modern painting of the WestThis work proves the correctness of what Vasari writes about the painter in his life, specifically in Valdarno.They still see the numbers he made in his early childhoodIn addition to attempting to clarify the historical and artistic conditions for the completion of the work, the exhibition aims to re-read and deepen the artist’s connections to the painting of his time and to collect the triptych’s work by artists who were Masaccio’s contemporaries and with whom he shared, albeit often from different perspectives, the yearning for a painting renewed from a point of view A view of the contents and from the point of view of the iconic models.
In this exhibition, the most important unpublished face-to-face confrontation in the same exhibition hall, It is the work between the triptych of San Juvenal and the triptych of San Pietro Martire by Beto Angelico: but there are other great and important works in this comparison, such as the Madonna del Umelta of Masolino da Panical, the work of the Uffizi, or the magnificent Madonna with Child of Filippo Lippi, from a private collection.
The ribbon-cutting is scheduled for this afternoon at 5 p.m., and the gallery will officially open to the public starting Saturday, April 23. It will remain open for six months, until October 23. Organized by the Musée Masaccio and the Municipality of Reggello, the first of the events included in the “Terre degli Uffizi 2022” project, designed and created by the Uffizi Gallery and the CR Firenze Foundation: a program that brings events and exhibitions to small towns throughout Tuscany, strengthening artistic and cultural ties with Florence.
In short, Reggello is the opening for this very important project, as pointed out Mayor Piero Gionte. “It’s a wonderful day for Reggello, who has become the protagonist with the trio of San Giovenale but also with a series of initiatives that we will be organizing in these six months, to tell the close relationship between Masaccio, this region and its community.”
The exhibition is curated by Lucia Bencista, Angelo Tartoferi, Nicoletta Mattozzi, designed and organized by Maria Italia Lanzarini. Created to celebrate the 600th anniversary of the Masaccio Triptych, the exhibition – explained Lucia Pencista – is an unmissable opportunity for the museum: thus, together with the other curators, we thought of a path focused on the triptych, displaying it alongside works from the painters who worked on those period, about the 1520s, and Masaccio himself was sure to frequent and meet. On this occasion we reviewed the same design of the Museum which this year celebrates its twenty-year anniversary. The rearrangement of the Museum, after this exhibition, will allow to host the works that come from Pieve Once it is restored.
This morning, the official presentation was attended by the President of the Regional Council of Tuscany, Antonio Mazzio, who stressed the importance of this project for Rigello and the “Terre degli Uffizi” for the whole of Tuscany; General Director of the CR Firenze Foundation, Gabriele Gori, is connected via the web, while director of the Uffizi Galleries Eike Schmidt, unable to participate, commented: “Florence and Reggello are united in studying and revisiting one of the most extraordinary moments in art and culture In the West, the beginning of the Renaissance”.