In Milan, the Pinacoteca di Brera museum, originally planned as a “little Louvre” by Napoleon, has finally inaugurated a modern art extension, Palazzo Citterio, housing one of the world’s most significant collections of 20th-century Italian art on Sunday.
Brera director Angelo Crespi took charge in January with the completion of this project as a top priority, which had faced challenges such as changing priorities, periods of being overlooked, and a previously unsuccessful architectural concept.
The former culture minister of Italy had set the target opening date for Dec. 7, coinciding with Milan’s patron saint, St. Ambrose, leaving Crespi with only a few months to address structural issues and supervise the arrangement of numerous modern artworks that had been donated to Brera many years ago.
On deadline, the current culture minister, Alessandro Giuli, who inherited the project in September, inaugurated Palazzo Citterio on Saturday’s feast day, ahead of the public opening on Sunday.
The accelerated timeline after decades of delays “wasn’t to prove something,” Crespi told The Associated Press.
“There was awareness that it needed to be opened,” he said. “The question was not just economic, but also ethical. After 52 years, we couldn’t keep such a beautiful building closed simply because of inertia.”
The Palazzo Citterio opening completes a decades-old vision for a “Grande Brera,” which encompasses also the Pinacoteca and the Braidense National Library, just as it takes on greater heft in the Italian cultural landscape.
From Dec. 2, the Grande Brera also incorporated into its fold Leonardo da Vinci’s “Last Supper,” arguably Italy’s most famous masterpiece. The fragile wall mural is located in a church complex a kilometer (half a mile) away from the Pinacoteca and Palazzo Citterio.
The merger creates a system of state-run museums in Milan that boosts Brera’s cachet and gives Crespi significant autonomy in their management, including control over 80% of revenue.
Combined, the “Last Supper,” and the Pinacoteca di Brera, receive 1 million visitors a year, and take in more than 10 million euros ($10.5 million) in revenue, Crespi said. As a single entity, they are among the top 10 most-visited sites in Italy.
Crespi hopes to use this greater visibility to promote other institutes in the Brera complex, including the Academy of Fine Arts, botanical gardens and an observatory, while also pitching Milan — better known for fashion and finance — as a city of the arts.
Beside the Grande Brera’s vast collections and the “Last Supper,” masterpieces by Michelangelo, Canova, Caravaggio, Raffaello, Bellini, Piero della Francesca and others are displayed in museums and landmarks within walking distance of Milan’s central Duomo cathedral. Yet they are often overlooked by visitors.
“All of the biggest masterpieces and names who made Italian art great over the centuries are concentrated within a few hundred meters,” Crespi said, adding that as an art city, Milan can rival Florence, Rome and Venice.
The Grande Brera should become “the motor of this narration of Milan as a city of art,” he said.
By spring, the Pinacoteca di Brera will be linked to Palazzo Citterio, a few minutes’ walk away, by a passageway through the botanical gardens behind the museums.
Inside Palazzo Citterio, visitors are greeted by the monumental late 19th century painting “Human Flood,” by Giuseppe Pellizza da Volpedo, intended as a bridge from the Pinacoteca’s collection that is rich in Italian Renaissance and Baroque art taken from areas conquered by Napoleon’s army.
In the new museum, hundreds of artworks donated to the Brera decades ago by the art collectors Emilio Jesi and Lamberto Vitali form “a manual of Italian contemporary art,” with a particular focus on Giorgio Morandi, said curator Marina Gargiulo.
Jesi, who lived in an apartment in the palazzo, focused his collection on painters who were his contemporaries in the 1930-1960s, most of them Italian artists, with notable exceptions including Picasso.
Vitali’s tastes were more eclectic, ranging from archaeological artifacts to Byzantine mosaics and art from the medieval era through the 20th century, with paintings by his friend Morandi and by Modigliani, Gargiulo said.
The new museum also includes a series of 152 miniature self-portraits commissioned by Italian neorealistic screenwriter Cesare Zavattini.
Workers were still installing the permanent collection and an exhibition two days before the public opening, and Crespi said his own staff suggested postponing the opening as the date neared. But he held fast.
“Otherwise, we could have entered in a new loop, with more years of other ideas, other projects. It is the right moment and we need to do it,” Crespi said.
For now, the Palazzo Citterio will be open Thursday-Sunday from 2 p.m.-7 p.m., while the Pinacoteca di Brera is open Tuesday-Sunday from 8:30 a.m. until 7:15 p.m. Reservations are recommended for Leonardo’s Last Supper Museum, open from 8:15 a.m. to 7 p.m. Tuesday-Sunday, with a maximum 40 people admitted every 15 minutes.
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