“Female figure in the Baroque, symbol of universal values ​​and passions”

The exhibition ‘Virtue and Grace’ – scheduled from 3 April to 28 June at the BPER Gallery in Modena – was born from the desire to investigate the female figure as a complex and universal symbol in the history of art. ‘The female figure blossoms in a particular way in Baroque art as a bearer of virtues and moral values,’ explains curator Lucia Peruzzi. A theme that intertwines religious dimension, classical tradition and daily life. “It is an art that lives on reality, but also on exuberance, feelings and sensuality”, underlines Peruzzi, highlighting how the baroque language makes women a privileged subject to narrate spiritual tensions and human passions. The exhibition thus crosses different representations: from saints to heroines, up to mythological figures, offering a stratified and meaning-rich reading. “The female figure lends itself to multiple interpretations and becomes particularly interesting precisely because of its complexity,” he adds.

A journey that highlights the central role of women in the great Baroque theatre, between moral symbol and narrative force. A journey that crosses antiquity and reaches today, showing the relevance of the values ​​expressed by the female figure. This is the key to understanding the exhibition “Virtue and Grace”, according to the curator Lucia Peruzzi. “The values ​​told through history are still profoundly relevant,” he states, recalling how ancient myths and narratives are intertwined with daily life: “they speak of passions, suffering, deceptions and loves, in a story that goes from the senses to spirituality”. From the heroines of classicism to the protagonists of “Jerusalem liberated”, up to the figures of religious tradition, the exhibition highlights a system of values ​​that spans the centuries.

“It is a vitality that reaches us through the fascination of the female figure,” observes Peruzzi. The exhibition thus invites us to reread the present through the past: “It is exciting to discover how contemporaneity can be interpreted by going backwards, between art, poetry and history, in an indissoluble bond. An approach, concludes Peruzzi, which makes the exhibition project not only historical-artistic, but also profoundly current”.

By Editor

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