The exhibition is divided into four sections which, in adopting a strictly geographical
arrangement, set prestigious masterpieces created by artists of their calibre
alongside splendid examples of Italy's artistic output in the 15th and 16th centuries.
The first section, devoted to Florence, endeavours to reconstruct the Italian
career of Alonso Berruguete, which has been studied by both Roberto Longhi and
Federico Zeri, thus providing the visitor with an unprecedented chance to directly
compare the works attributed to the artist (most of which are held today by the
Uffizi and by other leading museums both in Italy and abroad - the Loeser Collection
in Palazzo Vecchio and the Galleria Borghese in Rome), while at the same time
exploring his modernity through a comparison with the significant achievement
of his contemporaries in the fields of sculpture and painting, including Andrea
del Sarto, Rosso, Pontormo, Baccio Bandinelli and Jacopo Sansovino. The visitor
will thus be able to assess the impact that the Florentine tradition had on Berruguete's
work, thanks also to the presence in the exhibition of autograph work by Donatello,
Leonardo, Michelangelo, Filippino Lippi and Piero di Cosimo.
The second section, focusing on the paintings of Pedro Machuca, explores the
role that this painter played in Raphael's workshop in Rome in the 1510s and '20s,
also assessing Raphael's influence on southern Italy through the work of Pedro
Fernández, whose Italian career was played out between Milan, Latium and Campania.
The third section allows the visitor to admire some of the splendid sculptural
works produced by Bartolomé Ordóñez and Diego de Silóe during their time in Naples
in the second decade of the 16th century, when they embodied the very best in
‘Mannerist’ statuary. Their work is set alongside the production of Girolamo Santacroce
and of Domenico Napolitano in order to gauge their impact on local Campanian culture.
The final section of the exhibition focuses on the work produced by these artists
after their return home, to Valladolid, Granada and Toledo, thus allowing the
visitor to measure the impact that their experience in Italy had on their style
and on their figurative vocabulary.