The exhibition unites more than 30 works from all phases of the master's creative output, focussing in particular on the heyday of the artist's career in the late 15th century. In addition to the paintings and drawings by Perugino and his workshop the show also includes related works by the artist's contemporaries and testimonies to how positively his art was received.
Curated by Andreas Schumacher
Curatorial Fellow Dr. Annette Hojer
Exhibition design Matthias Kammermeier
As a highlight and to conclude the Alte Pinakothek’s 175th jubilee celebrations, the
Bayerische Staatsgemäldesammlungen are staging the first exhibition on Pietro
Perugino – one of the most successful artists of the Italian Renaissance – to be
held outside Italy. It unites more than 30 works from all phases of the master’s
creative output, focussing in particular on the heyday of the artist’s career in the
late 15th century. ‘The Vision of Saint Bernard’, an altarpiece completed around
1490 which King Ludwig I of Bavaria, the founder of the Alte Pinakothek, managed to
acquire in 1829, was the initial impetus behind this exhibition and forms its focal
point.
Although generally underestimated today, contemporaries heralded Pietro Perugino (c.
1450–1523) as the best painter of his generation. Prominent patrons courted his
attention even some distance from Florence and Perugia, the centres in which he
worked. Popes, cardinals, dukes and wealthy merchants were among his clients. He
managed his workshop with astute business acumen, dealing with a surprising number
of major commissions for the Church and municipalities in Umbria and Tuscany. The
classical harmony and contemplative mood of his works not only satisfied the
aesthetic and religious craving of the times, but also paved the way for the
painting of the High Renaissance. Perugino’s works were increasing admired once
again in the 19th century and, more recently, art history has attempted to rid the
artist of the overwhelming shadow cast by his famous pupil, Raphael. Irrespective of
this, the humanist and sophisticated technical qualities of his innovative and
sensitive works are worthy of rediscovery in their own right.
In addition to the exquisite paintings and drawings by Perugino and his workshop the
exhibition also includes related works by the artist’s contemporaries and
testimonies to how positively his art was received. Many major collections of
paintings and prints in Europe and the USA are supporting this exhibition through
the loan of important works. These include the Uffizi Gallery and the Galleria
Palatina in Florence, the Galleria Nazionale in Perugia, the Vatican Museums, the
Louvre, The Metropolitan Museum of Art, The National Gallery, London and the
National Gallery, Washington, DC, the Nationalmuseum in Stockholm and The State
Hermitage Museum in St. Petersburg.
Pietro Vannucci, known as Perugino, was born around 1450 in Perugia or Città della
Pieve in Umbria and probably spent his first few years as an apprentice in Perugia.
The experience he gained in the painter and sculptor Andrea del Verrocchio’s circle
in the art centre Florence had a profound impact on him.
The exhibition opens with outstanding examples of early works from his own hand,
including one of the most popular works in the Galleria Nazionale in Perugia – a
panel from the San Bernardino cycle – completed in 1473. In 1480, Perugino was
called upon to paint the Sistine Chapel with three colleagues of his from Florence.
This prestigious commission from Pope Sixtus IV secured the Umbrian master’s place
as one of the leading artists of his time and, a few years later, Perugino chose to
establish a workshop in Florence. It was there, as well as in Perugia where he also
maintained a foothold, that he completed numerous large-format altarpieces, fresco
decorations, private devotional paintings and portraits over the following twenty
years.
The altarpiece in Munich depicting the vision of St. Bernard, originally intended
for a family chapel in the Cistercian church Santa Maria Maddalena di Cestello in
Florence, marks the beginning of his mature work. It forms the focal point of the
first part of the exhibition and is outstanding thanks to a harmony in the
composition of figures, architecture and landscape that was virtually unsurpassed in
Italian painting up until that time. In exemplary fashion, it shows the sensitivity
and innovativeness with which the painter furthered the tradition of Florentine and
Central Italian painting in the 15th century. His compositions are governed by a
contemplative mood and a calm balance in structure and colouring. Perugino was able
to accentuate the aesthetic and spiritual potential of his art, accompanied by
Humanist ideals and a new religious orientation, without making a difference between
large altarpieces and small devotional pictures.
The exhibition brings together a broad selection of religious pictures made for
private use and includes loans from Stockholm, St. Petersburg, London, Florence and
Frankfurt, among others, with subjects such as St. Sebastian, the Man of Sorrows
and, of course, the Virgin and Child predominating. An exquisite cabinet painting
from the Louvre of Apollo and the shepherd Daphnis in an Arcadian landscape – one of
the extremely rare testimonies to Perugino as a painter of mythological subjects –
has also made its way to Munich. It was probably painted around 1490 for Lorenzo the
Magnificent, head of the de’ Medici banking family that ruled Florence.
Several panels from the S. Pietro polyptych, which are otherwise in scattered
locations around the globe and which are part one of the largest altarpieces that
Perugino completed in his native town in 1495, form a transition to the second part
of the exhibition. Here, images of the Madonna and Child form a further highlight
and are shown, for example, vis-à-vis an early drawing of the Virgin by Raphael.
Perugino’s exceptional talent as a portraitist can also be seen, represented by his
most important works, including the famous portrait of Francesco delle Opere of 1494
from the Uffizi Gallery. This work is a particular impressive example of how the
master succeeded in incorporating qualities found in Early Netherlandish painting in
his art, so admired by his contemporaries.
Perugino’s late work and paintings by his successors – represented by a further
altarpiece – document the master’s efficiently organised working method in
particular – one of the principle business-orientated qualities that prompted the
leading 16th-century historian and artist biographer, Giorgio Vasari, to ruin
Perugino’s posthumous fame.
It was not until the 19th century that the painter was once again accorded the
recognition that he deserved, although he was principally seen as Raphael’s teacher.
The acquisition of works by Perugino for Ludwig I was also largely motivated by the
profound admiration shown for Raphael at that time. The exhibition is rounded off by
an in-depth examination of the Umbrian master’s life and art in the 19th century.
Examples of German Romantic painting can be seen as well as a drawing by Edgar
Degas, among other works.
A comprehensive and richly illustrated catalogue is being published by Hatje Cantz
to accompany the exhibition. Six introductory essays cover the principle themes and
all exhibited works. Acknowledged experts review Perugino’s work as a whole, outline
his career and his ‘fortuna critica’, analyse his landscape and architectural works,
discuss Raphael’s relationship to his teacher and the reception Perugino enjoyed in
the 19th century.
The exhibition is being sponsored by the Ernst von Siemens Kunststiftung.
Catalogue
A detailed catalogue, edited by Andreas Schumacher, is being published for the
exhibition with contributions by Matteo Burioni, Rudolf Hiller von Gaertringen, Annette
Hojer, Oliver Kase, Jens Niebaum and Andreas Schumacher.
304 pages, 193 illustrations
Hatje Cantz Verlag
ISBN 978-3-9814578-1-0
Price: 29.90 euros (in the museum shop); 39.80 euros (trade edition)
Image: Perugino, Portrait of Francesco delle Opere, 1494, Florence, Uffizi
Press preview: 12 october 11
Opening 12 october 19
Alte Pinakothek
Barer Strasse 29 Munich
Hours: daily except Mon 10.00–18.00 | Tues. 10.00–20.00
Admission: "Perugino – Raphael’s Master" (incl. the special exhibition ‘Treasures from the Depot’) 7 euros | concessions 5 euros
Combined ticket, Alte Pinakothek 12 euros | concessions 9 euros
Audio guide in German and English 3 euros