The exhibition, curated by Luigi Gallo, Anna Maria Ambrosini Massari and Yuri Primarosa and organized in collaboration with the Gallerie Nazionali Barberini Corsini in Rome, illustrates the fully modern flair of the young Simone Cantarini through a selection of 56 paintings. Born in Pesaro in 1612 and who died prematurely in 1648 under mysterious circumstances, Simone Cantarini-the greatest Marche painter of the 17th century-is celebrated 28 years after the memorable exhibition organized in Bologna by Andrea Emiliani. The exhibition aims to present the public with a rich selection of works by the Pesarese, whose pictorial corpus - which has grown considerably - will be further augmented for the occasion by unpublished works from public and private collections.

The exhibition design has been developed according to two main ideas: on the one hand, that of constructing a fluid space but at the same time with a surface suitable for hosting a large number of works placed in mutual dialogue with each other; on the other hand, that of emphasizing the deep brown colors typical of the post-Counter-Reformation period with a bright and velvety background.

The resulting space is articulated though marked by a gspicuous continuity, further underscored by the chocolate-colored mdf wainscoting, which runs the length of the exhibition, embracing all the rooms in a single gesture.

 The upper surface, characterized by a cerulean canvas background, is punctuated by a series of vertical slats that frame the works, giving them proportion and rhythm while supporting the captions printed on brown mdf. The exhibition volumes are articulated by folding and hugging the works in a way that builds cross-views and spaces of intimacy, with corners cut at 45 (coins coupés) that connect different planes, increasing the exhibition surface and sometimes closing as wings close some spaces in the form of recollection.

Each room presents its own specific and defined spatiality, designed specifically to put the works in dialogue with each other but also to build perspective views that can anticipate the works in the next room.

On the other hand, the beginning and the end of the exhibition itinerary are characterized by a darker tone of color, announcing a kind of prologue and epilogue to the entire itinerary.