From September 19, 2025 to January 12, 2026, Palazzo Madama - Museo Civico d’Arte Antica in Turin and the Fondazione Emilio e Annabianca Vedova in Venice present the exhibition Vedova Tintoretto. In Dialogue, curated by Gabriella Belli and Giovanni Carlo Federico Villa. The exhibition will compare two great Venetian painters: Jacopo Robusti, known as Tintoretto (Venice, 1518-1594), and Emilio Vedova (Venice, 1919-2006).
The exhibition was created with the intention of creating a visual and conceptual dialogue between two artists belonging to different eras but united by an intense expressive energy and an artistic vision charged with dramatic tension. Vedova, who has always recognized in Tintoretto a fundamental reference, reinterprets the language of the Renaissance master, confronting his narrative power and compositional theatricality, exploring affinities, contrasts and deep resonances between their works.
The exhibition path kicks off with an exceptional loan: the famous Self-Portrait of 1588 by Tintoretto, from the Musée du Louvre. This work, which is considered not only an iconographic model but also a powerful symbol of artistic identity, has profoundly influenced the visual and theoretical thinking of many modern artists, including Vedova himself, as also pointed out by Jean-Paul Sartre and Édouard Manet.
“Tintoretto was an identification of mine. That space precisely a site of happenings. That direction with syncopated and bloody rhythms, magmatic of energies of internal funds of passions of moved emotionality (...).” [Emilio Vedova]
Set up in theSenate Chamber of the Kingdom of Italy, the exhibition brings together about fifty works, including some of Vedova’s most significant canvases and masterpieces by Tintoretto, such as the spectacular Camerlenghi altarpieces, on loan from the Gallerie dell’Accademia in Venice, and works from the celebrated Metamorphoses cycle, now housed in the Estensi Galleries in Modena. The comparison between the two artists develops from Vedova’s youthful drawings of 1936, through works of the 1940s and 1950s, directly inspired by Tintoretto’s paintings such as the Multiplication of the Loaves and Fishes (from Tintoretto) (1942), The Crucifixion (from Tintoretto) (1947), (study from Tintoretto’s Dream of St. Mark ) (1956), and to those of the 1980s.
The itinerary closes with one of Vedova’s most monumental and immersive works: ...in continuum, compenetrazione/traslati ’87/’88, a spectacular installation composed of more than one hundred large canvases, assembled into a dynamic and imposing whole that defies the vertical space of the room. A powerful testimony to the artist’s continuous confrontation with the ideal master of his training.
For info: www.palazzomadamatorino.it
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| Turin, at Palazzo Madama comparing two great Venetian painters: Tintoretto and Emilio Vedova |
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