The conclusion of the last exhibition at the Quirinal Stables in Rome dedicated to Lorenzo Lotto
kicks off the big project which will run until 2012, aiming at the exploitation of the whole artistic, cultural and landscape heritage related to the figure of the "Golgotha of Renaissance”, as he was called by his greatest scholar, Bernard Berenson. Lands of Lotto
- the name of the initiative presented at a press conference in Rome on Thursday, July 7th - involves public and private entities united by the sole purpose of creating a network from the central core made up by the Roman exhibition: different paths branch off throughout Italy, or rather, to those places where the great Venetian artist left more traces: in Marche, Veneto, Lombardy.
The project, conceived by Barbara Abbondanza Maccaferri with the help of the curator Giovanni Carlo Federico Villa, asked for the joint collaboration of the Ministry of Heritage and Culture, the Special Palaexpo company which handled the entire communication side, major sponsors whose role was not limited to financial support, and the regions concerned, that saw an opportunity to make available, in addition to the relevant works of art, the local food and wine and a rich landscape characterizing them. In order to accomplish this objective a series of permanent Lotto cultural routes have been set up, created in collaboration with FAI - Italian Environmental Fund, and the gastronomic Gambero Rosso. Small towns away from mass tourism, such as Asolo (TV), Jesi (AN), Cingoli (MC), Recanati (MC), Monte San Giusto (MC), are therefore involved in the forefront of this experiment aiming to give an alternative interpretation to the mere exhibition system: " not only the promotion of the individual artist and his works, but a huge deal of attention has been put to the context, to the enhancement of its natural assets - real wealth of the" one hundred cities of Italy "- and the optimization of the few resources available today in our country, thanks to the networking of many public institutions - such as the Ministry, the Superintendents, the Regions, the Towns - and private sponsors.
Beyond the touristic itinerary, a system of promotion and communication has been activated; it provides, in addition to several meetings and discussions in all the municipalities concerned, the implementation of educational courses for children and families supported by a series of small publications for all types of audiences, and the creation of a website (www.lorenzolotto.info
) where one can keep track of the program initiatives, and find information about the artist, his technique, his artistic career, and the restoration of his works.
Two important aspects are worth mentioning: the restorations made thanks to the contributions of sponsors, BNL, Fondazione Credito Bergamasco and Enel; the intervention of lighting with new LED light sources made by Tergetti Sankey. Those who have already visited the exhibition at the Stables in Rome will have surely appreciated the wonderful open yard of the “Altarpiece of San Domenico” - supported by Enel - set up at the end of the exhibition, just another note on this "different exhibition system”. BNL and Fondazione Credito Bergamasco funded respectively 13 and 6 interventions. All diagnostic and restoration processes are described in books specifically published for each territory - Lotto in the Marche, Lotto in Veneto, Lotto in Bergamo - that will complement the large illustrated catalogue of the entire project from the after-show onwards. The interventions that have affected the light exposure, as well as all the original installations in each municipality, will be substantially explicated by those lighting designers who made them, in the course of several presentations scheduled from July 9th onwards.
The temporary exhibition was "a pretext" to focus the attention of the general public to the permanent patrimony, spread throughout Italy, with a special note to the conservative side. Indeed, since this is the peculiarity of our Bell'Italia, as also Antonio Paolucci, president of the Scientific Committee of the Quirinal Stables, puts it: in the ranking of the world's greatest museums, the Italian ones come "only” twenty-firsts, as many complain. In reality this is a consequence of the fact that in Italy there cannot be a large concentrations of inputs in major museums, because the audience is forced to be distributed among all the artistic attractions and cultural interests spread throughout the entire boot.