“L’Immenso Seicento”. The 1922 Florence exhibition of Italian Seicento art and the politics of Caravaggio studies

Abstract

The Mostra della Pittura Italiana del Seicento e Settecento held in 1922 at the then Pitti Royal Palace (Florence) was the first in a series of exhibitions defining an art historical chronology, schools and the hierarchies of Baroque art, most of which are still valid to date. This exhibition was also the first to showcase a re-discovered Michelangelo Merisi da Caravaggio (1571-1610) then presented akin to a revelation. The exhibition undoubtedly dealt with new readings of art history at face value but was also motivated by explicitly political overtones informed by the politics and international ambitions of the Kingdom of Italy. This paper explores the duality of the exhibitions’ complex narrative bridging politics and art history. It also reviews the genesis of 20th century Caravaggio studies and the ways and means how this was acknowledged within the Anglo-Saxon world of academia over time.