The article reviews the "Caravaggio 2025" exhibition at Palazzo Barberini in Rome, which brings together 24 paintings by the Baroque master Michelangelo Merisi da Caravaggio. Curated by Francesca Cappelletti, Maria Cristina Terzaghi, and Thomas Clement Salomon, the show is accompanied by a heavy marketing campaign tied to the Catholic Church's Jubilee year. The review notes that while any gathering of Caravaggio's works guarantees a beautiful experience, the exhibition's title and scope remain unclear, and the curatorial approach—divided into four thematic sections—feels disjointed. Highlights include the reunion of three paintings from Cardinal Francesco Maria del Monte's collection and the public display of the recently identified portrait of Maffeo Barberini.
The review matters because it critically examines a major museum exhibition that capitalizes on Caravaggio's enduring popularity, questioning whether the show offers genuine scholarly insight or merely serves as a box-office attraction. It underscores the tension between populist marketing and rigorous art historical curation, a recurring issue in blockbuster exhibitions. The review also highlights the role of connoisseurship in shaping Caravaggio's legacy, referencing art historians like Roberto Longhi who revived the artist's reputation, and raises questions about attribution and the commercial pressures facing museums today.