Several discoveries underpin Botticelli show

The major exhibit in Minneapolis is a testament to the importance of connections between museums.

The sole venue for a major show about Botticelli is the Minneapolis Institute of Arts. Why only Minnesota, and not any number of other U.S. cities with larger populations and wider reputations for art? The Minneapolis museum and Florence’s Uffizi gallery, which lent 45 works for the show, came together in part due to Uffizi director’s prior tenure as decorative arts curator at the Minneapolis museum.

Many museum visitors do not think a whole lot about how shows come together and what kinds of things must be done behind the scenes. This exhibit—beyond offering viewers the chance to see masterpieces that are normally on view prominently at the Uffizi and never leave Italy, as well as several of Botticelli’s very-fragile drawings—provides a good opportunity to consider all the contributions of art handlers, conservators, exhibition designers, and a host of other museum professionals.

My article in artnet on the show also addresses some of the telling juxtapositions of the exhibit, a few of which would not even be possible at the Uffizi. There was so much going on in the show that I could not possibly fit it all in a single piece, so I may write further on it. (Perhaps in this newsletter’s premium edition.)

Here are some of the “conversations” between works in the show (all photos are mine).