Conservation is evolving towards more complex and integrated approaches, which draw on the fluid exchange of information and expertise to move from the concept of recovery to that of the longevity of artworks.
di Guido Furbesco
The distribution of Lorenzo Lotto’s publicly accessible works has helped to consolidate two enduring images of the artist. In Italy, especially in the cities where he worked, he appears above all as the painter of monumental altarpieces, of confraternities and civic communities. In European and American museums, one more often meets the portraitist, the maker of private devotional images, the inventor of enigmatic allegories.
di Rita Selvaggio
The idea behind BIAF remains as compelling, sustainable and successful as ever – as does the case for the international role of the antiquarian galleries that bring it to life.
di Stefano Pirovano
Giorgio Baratti, an antiquarian and collector, rediscovers Vincenzo Irolli’s portrait of Julia Lavarello Anselmo, and with it, the artist’s international recognition.
di Gianluca Carchia
At BIAF 2026, Pietro Cantore presents Nosce te ipsum by Francesco Ruschi, the subject of the monograph recently published by Campisano.
di Martina Leone*
She was a woman in an age when there were not so many women in the antiques trade, but like her few female colleagues she stood out for style and energy.
di Bruno Botticelli
The presence of contemporary art in historic museums has now become a constant, both in Europe and beyond. We explored how exhibition practices are evolving to understand when, and under what conditions, this integration creates genuine value.
di Rita Selvaggio
We met Massimo and Francesca Valsecchi, who in Palermo have transformed Palazzo Butera into a place where past and present are in perpetual conversation.
di Elena Caslini
We sat down with with Guicciardo Sassoli de' Bianchi Strozzi, founder of Nuova Artemarea, a non-profit organisation promoting Italian cultural heritage abroad, in partnership with Italian Government institutions and major private cultural organisations.
di Stefano Pirovano
With the Italian Senate's approval of the "Italia in Scena" bill on 11 March 2026, the free-export threshold for works of art rises from €13,500 to €50,000, with self-declarations valid for five years instead of six months. The reform also restricts the abuse of cultural interest notifications for works by foreign artists, sets a binding ninety-day deadline for loan requests, and introduces temporary import certificates (CAS/CAI). Looking ahead, MP Federico Mollicone announced at Tefaf Maastricht the forthcoming introduction of a digital passport for works of art — a certification tool covering traceability, authenticity and provenance — designed to facilitate their free circulation across Europe.
di Antonio Pepe
We set down with Giovanna Forlanelli, who together with her husband Lucio Rovati is helping to change the way culture is made in Italy, with an open, dynamic, advanced museum, connected with public institutions, and capable of bringing Etruscan art back into the present of international debate.
di Stefano Pirovano
The philosophy of art conservation is a constantly evolving field; we explored it with the Pinacoteca di Brera, Open Care, and the Opificio delle Pietre Dure, to discover how rapidly the process of change is accelerating.
di Guido Furbesco
Born in 1866 in Intra on Lake Maggiore, Paul Troubetzkoy grew up among aristocratic villas, artists, and musicians. The painter Daniele Ranzoni played a decisive role in his artistic formation, introducing him to the Milanese Scapigliatura, which shaped his sculptural language in a distinctly anti-academic direction.
di Omar Cucciniello*
