Faenza's Pinacoteca Comunale has new, environmentally friendly lighting

Enhancement of the artistic heritage, tradition and technological innovation: these are the key words that best represent the Luci sull’Arte Faenza program, which has seen a new lighting system for the Pinacoteca Comunale di Faenza, the oldest museum in Romagna. The intervention, which has already been completed, was made possible thanks to a grant under the Art Bonus decree, made available through the support of various entities: Generali Arte, Max Mara, the Region, and companies such as Bucci Industries. It was joined by contributions from foundations and individuals, including the Berengo Foundation, the Prada Foundation, Leo France, and several antiquarians and gallery owners, such as Enrico Frascione, Giovanni Pratesi, and Mario Cristiani. Stefano Ricci and American collector Thomas Rassieur also supported the project. The action thus made it possible to adapt the picture gallery to the most modern and sustainable methods of lighting. Crucial in the design of the various lighting systems was Erco, a leading lighting company.

“The installation is virtually complete, with only a few refinements scheduled for this February 2025. These final works will mainly involve minor adjustments, thus marking the conclusion of the Pinacoteca’s upgrade,” Faenza Pinacoteca director Roberta Bartoli, who was interviewed by Finestre last year, tells us.“The Faenza Art Gallery’s new lighting system is designed to adapt to different environments, providing specific solutions for each one and adapting to future exhibition needs. The lighting, which is precise and has very high color fidelity, allows visitors to have an immersive experience, enhancing the works of art to the fullest. In addition, since consumption will be greatly reduced, with the new lighting we meet the sustainability and ecological criteria that all museums and public spaces are required to adopt.”

Thus, the project included a complete overhaul of the lighting system, replacing the current halogen lamps and neon tubes with LED lights suitable for museums. The resources were divided into various specific interventions within the Pinacoteca including the Sala del Magistrato (12,200 euros allocated by Max Mara), the Sala delle Pale d’Altare (25,132 euros allocated by Generali Italia S.p.A.), the Rooms on the second floor (20,000 euros), and the Novecento rooms (20,000 euros).

“The Pinacoteca adopted specific solutions for each room, taking into account the characteristics of the works on display, their size and environmental conditions,” the director adds. “In addition, the projects were submitted to the Superintendence, so that we could have improving advice and the necessary approval. Each intervention was the result of consultations and comparisons, for example when it came to installing the spotlight rails, which were almost invisible anyway. The lighting of the spaces, in the end, became harmonious and functional, the works can now be seen well without the presence of the technical element being felt. The lighting system, which is particularly versatile, has made it possible to maintain consistency among the rooms, ensuring optimal light for each section of the Museum. Let me give you an example: the room on the second floor where there are works from the Manfredi era of the 15th century, very different in technique and responsiveness to light (the antique coffered ceiling, two carved and gilded coffers, a marble bust, paintings with a gold background and a banner, works inside display cases) presented enormous difficulties that were, however, overcome. The San Giovannino, a marvelous marble sculpture by Benedetto da Maiano, can now be admired in all its fineness, without being dazzled by the spotlights as was the case before. Even the paintings can be seen well and the light does not reflect on the surfaces of the climaboxes.”

The picture gallery, which is currently housed in a historic building dating back to the 18th century, specifically to 1797, when the City of Faenza acquired Giuseppe Zauli’s art collection and paintings from convents and churches suppressed as a result of Napoleonic laws began to arrive. In 1879, the institution was finally opened to the public, inside the former Jesuit convent, now known as the Palazzo degli Studi. Over time, its artistic heritage was significantly enriched, thanks in part to the deposit of works by the Congregation of Charity and the constant acquisition activity promoted by its first director, Federico Argnani.

The tour route: from the Middle Ages to the 20th century

The Pinacoteca’s exhibition itinerary opens with an Art Nouveau sculpture by Ercole Drei depicting Cassandra, introducing a series of Byzantine and Romanesque sculptures and epigraphs from the churches of Faenza and Ravenna. The museum exhibition follows a chronological order and presents a rich selection of paintings and sculptures illustrating the evolution of Faenza and Italian culture, ranging from the Middle Ages to the 20th century. Among the works from the 13th and 14th centuries, the Madonna and Child, accompanied by two Angels and Saints Francis, Michael, Augustine, Catherine and Clare, by Giovanni da Rimini, one of Giotto’s most significant followers, stands out. The rare shaped cross, attributed to the so-called Master of the Franciscan Crucifixes, is another masterpiece of the period. Inside the museum, the Renaissance is represented by works that affirm how Faenza was at the forefront of the period. In the center of the main hall is the wooden sculpture of St. Jerome, attributed to Donatello. The walls host paintings by artists such as Biagio d’Antonio, who was also active at the Sistine Chapel, and the Master of the Bertoni Altarpiece, who was strongly influenced by Ferrara painting. Works by Marco Palmezzano and Giovanni Battista Bertucci the Elder complete the Faenza Renaissance panorama. An additional room on the second floor houses important works from the 15th century, including the head of San Giovannino by Benedetto da Maiano and two wedding chests by Jacopo da Faenza, a major figure in Venetian carving.

In the large hall on the second floor, sixteenth- and seventeenth-century altarpieces from the main churches of Faenza tell the story of the city’s artistic culture between Mannerism and Baroque. Among them, the only known work by Giovanni Battista Armenini, scholar and treatiseist, and works by Ferraù Fenzoni are presented. The modern section, on the other hand, opens with the works of Felice Giani, who left an indelible mark on Faenza in the late 18th century, decorating prestigious aristocratic residences, including Palazzo Milzetti. The works of Domenico Baccarini and the Cenacolo Baccariniano mark an artistic renewal in the early twentieth century, placing them between Art Nouveau and Expressionism. The Pinacoteca also houses the Bianchedi Bettoli Vallunga collection, an exemplary selection of the Italian twentieth century, which includes paintings by artists such as Giorgio De Chirico, Alberto Savinio, Gino Severini, Carlo Carrà, Mario Sironi, Giorgio Morandi, Massimo Campigli, Filippo De Pisis and Felice Casorati.

Light and architecture in the Hall of Altarpieces: between tradition and innovation

Of all the rooms, “the Hall of the altarpieces is one of the most fascinating rooms in the picture gallery, although designing the lighting involved major comparisons,” says Roberta Bartoli. “Being located in an old Jesuit convent church, it was not possible to make significant structural changes. Therefore, a balance had to be found between natural light from the skylights and electric lighting. The project therefore included a specific intervention to enhance the huge altarpieces and that would respect the historicity of the space and the works themselves.”

To avoid the TV effect in the Hall of the Altarpieces, where the paintings would have risked being too brightly lit against dark backgrounds, soft, calibrated lights were installed to harmoniously illuminate both the works and the upper walls. All this thus led to the creation of a balanced and welcoming atmosphere. “Of course, in that room, the former church of the Jesuit convent where the Pinacoteca is located, we had to contend with both the monumental size of the works and the presence of lunette windows at the top of one wall, as well as two skylights that let in natural light,” he continues. “Artificial lighting therefore also had to take into account the combination with natural light sources. In the Hall of the Altarpieces we were guided by the principle of minimizing the visual impact of the light fixtures, avoiding the addition of new elements. Therefore, the two skylights were exploited to install a track-mounted spotlight system, ensuring discretion and harmony with the environment. The precise optics made it possible to enhance the works without altering the aesthetics of the Hall.”

In contrast, a different approach was taken for the twentieth-century art section, with lighting designed to enhance the distinctive character of the works, in order to ensure technological sustainability at the same time, in line with modern museum requirements. “The rooms of modern works,” adds the director, "(both the one dedicated to Baccarini and his cenacle and, especially, the two rooms on the second floor where the paintings of the Bianchedi Bettoli - Vallunga donation are displayed) had to be different from the rest of the museum, with the aim of not over-emphasizing the spaces where the paintings and sculptures are displayed. Among other things, the architect adopted very dark colors for the walls so that they almost disappeared into the shadows. Therefore, he opted for a system a more concentrated lighting that, on the one hand, favors a different perception of these rooms from the rest of the Museum - also marking the chronological gap of the art that is admired there - and, on the other hand, still allows for adaptation to the exhibition needs. It seems to us that the purpose has now been achieved."

Lights on Art Faenza therefore marks a significant step in the enhancement of one of the most important museums in Romagna. The lighting intervention, designed to respect the historicity of the context, has transformed the visit into an engaging experience: the beauty of the works is finally visible in its entirety, without forcing, but with respect for every detail. A tribute, then, to the city of Faenza and its extraordinary artistic tradition.

Faenza's Pinacoteca Comunale has new, environmentally friendly lighting

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