A never-before-seen masterpiece by the renowned artist Caravaggio was unveiled to the public for the first time at Palazzo Barberini in Rome, marking the revival of interest surrounding the Baroque painter’s legacy. The painting, titled ‘Portrait of Monsignor Maffeo Barberini,’ is set to be exhibited from November 23 to February 23, 2025, allowing Italy and art lovers around the globe to engage with a piece of history rarely seen outside of private collections.
This incredible work, which had been hidden from public view for over 60 years, depicts Monsignor Maffeo Barberini, who later became Pope Urban VIII. Caravaggio, born Michelangelo Merisi, is celebrated for his masterful use of chiaroscuro—a technique he expertly employed to create depth and emotion. This portrait showcases Barberini seated, seemingly commanding attention with his right hand—an intriguing pose indicating power and grace.
Gallery director Thomas Clement Salomon made it clear just how significant this event is: “This is the portrait by Caravaggio everyone wanted to see for decades.” Indeed, portraits of Caravaggio are exceedingly rare, with numerous pieces lost or destroyed during the tumultuous periods of art history. The rarity of this work only heightens its allure.
The painting has never been loaned for exhibitions previously, nor has it been accessible to scholars, making this announcement all the more exciting. Salomon expressed his enthusiasm at having coaxed the owners—whose identity remains undisclosed—to allow public access to the painting, calling the occasion “an absolute preview.”
Curator Paola Nicita echoed this sentiment, describing the painting as not only extraordinarily valuable but also as holding the key to offers of exploration and study long denied to scholars. “Only very few specialists since the 1960s have had the opportunity to see it in person, and it is one thing to know the painting from photographs, and another to see it for yourself and realize its quality, its almost magnetic power,” Nicita said.
The painting was first connected to Caravaggio by the prestigious art historian Roberto Longhi, who validated the work as genuine back in 1963. Longhi suggested it originally belonged to the Barberini family's collection before disappearing from public access during the 1930s. Since then, it has remained largely inaccessible, seen only by select experts, which has only added to the painting's reputation as something of legend.
Art historians have described Maffeo Barberini, illustrated when he was about thirty, wearing traditional papal attire—a biretta and cassock accented with earthy tones—further signifying his status within the Church. The essence of Barberini's powerful presence and intellectual prowess is captured flawlessly through Caravaggio's brushstroke. According to the gallery's promotional material: “Many modes of art are signified within the gesture of the hands, providing the viewer insight not only to the subject but to the artist himself.”
The depiction also captures the qualities emblematic of Caravaggio’s portfolio—a subtle play on light and shadow graces the canvas, creating depth and drawing viewers' gaze toward the sitter's face. This painting invites viewers to connect emotionally, enhancing its historical and artistic significance.
Intriguingly, the exhibition is being viewed not just as breathe of fresh air celebrating rediscovered art, but also as “an opportunity to untie some historical knots,” according to Massimo Osanna, the general director of Museums at Italy’s Culture Ministry. He mentioned there are still questions surrounding the dating and provenance of the piece, as little documentation has been recovered since its original identification.
Despite the uncertainty, experts such as Tomaso Montanari, who specializes on Caravaggio’s work, have stated there is currently no opposition to the painting being attributed to the master. The expert offered thanks for bringing this portrait to public attention, emphasizing the relevance of what he termed “Year Zero” for future dialogue and exploration within the academic community.
This event at Palazzo Barberini is of no small consequence. The palace, home to four other works by Caravaggio, including the famous ‘Judith Beheading Holofernes,’ is not only significant for its role within the Barberini Family legacy but also as part of the National Galleries of Ancient Art. Its walls resonate with history, art, and the stories of powerful individuals like Barberini himself, who was well-known for his patronage of the arts and close relationship with figures such as Bernini.
Gallery director Thomas Clement Salomon is optimistic about the future of the piece. “We’re working to broaden its access and make its presence felt even more, because every time this painting is seen, it creates emotional connections and sparks curiosity about Caravaggio’s life and career,” he shared.
The portrait’s new exhibition space is also adjacent to the grand salon featuring Pietro da Cortona’s famed ceiling fresco, which honors Urban VIII—a veritable intersection of art, history, and prestige, showcasing the connections between the painting and the Barberini legacy.
Officials from Italy’s Culture Ministry aspire to secure the painting, keeping it permanently within the walls of the exhibition, manifesting Salomon’s dream of eternal accessibility. “It’s something we’re working on,” he remarked. “Art speaks, and the story of this painting can teach future generations about the vibrant art community of Baroque Italy and the significance of Caravaggio.”
The public is invited to witness the brilliance of Caravaggio—whose life was complex and filled with drama until his untimely death at just 39 years of age—as the Gallery prepares for upcoming discussions surrounding the exhibition leading to an expansive Caravaggio exhibition scheduled for March. This event promises to include loans from institutions across the globe, ensuring the legacy of Caravaggio resonates well beyond the confines of the Barberini Palace.
With excitement surrounding this masterful piece rediscovered from obscurity, both historians and art enthusiasts alike are thankful for this once-in-a-lifetime occasion to engage with art history firsthand.
