Current exhibiton

The Perishability of the environment, to classical paintings.

The latest works by Marco Evaristti show an interpreted version of well-known paintings from the Renaissance. Sure, the motives are familiar, and so are names like Botticelli and Michelangelo; but the paintings are on their way out of our common consciousness. They have had to give way and lose their attention, but through Evaristti's interpretation they become relevant again.
Over time, the soft forms of the Renaissance have become bony skeletons, and lush landscapes now lie desolate. The colours have faded and time has consumed clothes and details. It is paradoxical that a work is revived in our consciousness when we are confronted with death and the transience of man as well as the environment.

The Fall of Icarus, Jacob Peter Gowy / 1636

Icarus is in Greek mythology the son of Daidalos, who built the Labyrinth of Knossos for King Minos. When Minos planned to kill father and son to keep the secret of the labyrinth, they fled on wings that Daidalos had constructed of feathers and beeswax. North of Samos, Icarus swung in over-courage so high in the air that the Sun melted the wax, and he plunged into the sea, which has since been called the Icarian Sea.

Leda and the Swan, Peter Paul Rubens / 1530

Leda is in Greek mythology married to King Tyndareos of Sparta. She is so breathtakingly beautiful that every man desires her. In the form of a swan, Zeus seeks out the beautiful Leda, and conceives her. The piquant scene with Leda and the swan has inspired artists since ancient times.

Leonardo painting Mona Lisa, Casera Maccari / 1863

The painting by Mona Lisa is considered an archetypal masterpiece from the Italian Renaissance, and has been described as "the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world." Here both in a rendition of Casera Maccari, and then again by Marco Evaristti. Mona Lisa has always fascinated with her enigmatic smile, and there are a myriad of myths and theories about the meaning of painting.

Mars and Venus Surprised by Vulcan, Jacopo Tintoretto / 1552

The painting depicts a scene of sex outside of marriage. The goddess Venus lies naked on the sofa, and her husband, Vulcan, who has returned home prematurely. Venus' lover, Mars, hides the lower bed. Vulcan is overwhelmed by his wife's beauty and naked body, and therefore does not discover the affair.

Birth of Venus, Sandro Botticelli / 1485

The painting is inspired by the Greco-Roman myth of the birth of Venus. In the Greek mythology-known Venus as Aphrodite "the foam-born" or Anadyomene "the one raised from the sea". Here she is received by the goddess of spring, carrying flowers and myrtles on her costume. Venus is worn by the goddess of spring wearing a covering robe.

Echo and Narcissus, John William Waterhouse / 1903

There are many myths about Narcissus. In Ovid's version of the myth, Narcissus was the beautiful son of the river god Cephissus and the nymph Liriope. His parents were told that he would have a long and happy life if he did not look after himself. He rejected all nymphs and women who fell in love with him. One of these was the nymph Echo, which could only repeat the words of others. She was so upset by her rejection that she faded away until there was only a whisper left. Her prayers were heard by the goddess Nemesis, who made Narcissus fall in love with his own reflection in a forest lake. He continued to look at his reflection until he died. A narcissus flower grew at the place where he died.

Creation of Adam, Adam Michelangelo / 1512

Adam's Creation is a section of the ceiling decoration in the Sistine Chapel and is the most famous of the freshmen. It illustrates the creation account in the Bible book of Genesis, where God breathes life into the first man, Adam. An explanation for this must be found in the Bible, according to many art historians: "God said, Let us make man in our image, after our likeness." (Genesis 1, 26)

Lamentation of Christ, Andrea Mantegna / 1480

The painting depicts the body of Christ lying on a marble slab. He has been taken down from the cross, and the open wounds, the stigma, are evident on the hands and feet. He is watched by the Virgin Mary, John, and Mary Magdalene weeping over his death.

Venus of Urbino, Titian Vecellio / 1534

The naked woman is typically identified with the goddess of love Venus. Her direct and unabashed expression and gaze on the viewer help to make her sensuality explicit, and she has a natural and carefree approach to her own nudity. In her right hand she holds roses, while the left is randomly stretched so that it covers her gender - placed as the center of the composition of the image. The painting was a commissioned work. Allegedly, the erotic Garden of Venus was to serve as an instructive role model for the Duke's young bride.