The Quadreria is the result of acquisitions carried out in the late twentieth century. With deep ties to the surrounding territory, it gathers together a number of paintings, in particular those from the Bolognese school, from the sixteenth to the eighteenth centuries. But the bank’s history is also one of mergers with institutes from other regions, which explains the presence there of the Neapolitan artist Giordano and the Friulian artist Carneo, both from farther afield yet warmly welcomed within these rooms.

Alongside the San Vincenzo (Saint Vincent) by Ludovico Carracci, the opening room houses some examples of 17th century Emilian masters who grew up under the influence of the Carracci family, ranging from Cantarini (a student of Reni) to Barbieri from the town of Cento and known to the world as Guercino. The adjacent room is home to the Venere (Venus) by Luteri from Ferrara, known as Dosso, adopted by Ariosto in his epic poem L’Orlando Furioso next to the great brushstrokes of past and modern times (“Leonardo, Michel Angel, Rafael, Tizian”). There is also a whole room dedicated to Crespi from Bologna, known as Lo Spagnuolo (The Spaniard), who as a young boy copied the entire Magnani room. So did Burrini, an inspirational citizen who came to be known during the century as the Bolognese Giordano (thus making the picture by Luca Fa’ Presto, as the Neapolitan artist Luca Giordano was known throughout Europe, fully entitled to a place within these rooms). Here (almost) everything revolves around the Storie della fondazione di Roma (Stories of the Foundation of Rome) frieze, a fresco painted around 1590 by Agostino, Annibale and Ludovico Carracci, due to change the history of painting in Italy forever.


See the collection of Palazzo Magnani


Marco Nicolò Riccòmini graduated in Modern Literature, specialising in History of Art, at the Università degli Studi di Firenze (University of Florence). He worked for a number of years in London before taking charge of the Department of Old Masters Paintings at the Finarte auction house in Milan and subsequently at Christie’s for more than a decade.

He also curated several exhibitions and their respective catalogues, including Figure del tempo barocco. Dipinti dell’Opera Pia dei Poveri Vergognosi (Pictures from the Baroque period. Paintings from the Opera Pia dei Poveri Vergognosi), Bologna, Fondazione del Monte di Bologna e Ravenna (17 April – 12 June 2016).

A specialist on Bolognese Seventeenth and Eighteenth Century Paintings and Drawings, Mr Riccòmini has published a number of books and papers including: Donato Creti. I disegni della Raccolta Certani alla Fondazione Giorgio Cini (Donato Creti. Drawings from the Certani Collection at the Giorgio Cini Foundation), Marsilio Editori, Venice 2011; Donato Creti. Le opere su carta. Catalogo ragionato (Donato Creti. Works on paper. Catalogue Raisonné), Allemandi & C., Turin 2012; Giuseppe Maria Crespi. I disegni e le stampe. Catalogo ragionato (Giuseppe Maria Crespi. The Drawings and the Prints. Catalogue Raisonné), Allemandi & C., Turin 2014; La Quadreria. Palazzo Rossi Poggi Marsili, ASP Città di Bologna, Bologna 2016.

Mr Riccòmini has curated a number of catalogues such as: Italian Old Master Drawings, The Walpole Gallery, London 1991; Arkadien. Paradies auf Papier. Landschaft und Mythos in Italien, Berlin, Staatliche Museen zu Berlin, Kupferstichkabinett, 2014; Scritti per Eugenio; 27 scritti per Eugenio Riccòmini (Writings for Eugenio; 27 writings for Eugenio Riccòmini), Modigliana 2017. 

He has also written numerous entries for various exhibition catalogues and articles for Italian and foreign Art magazines.  

Maura Pozzati  was born in Bologna in 1967, where she graduated in Modern Literature, after which she had important work experience abroad: first at the Guggenheim Museum in New York (in the Curatorial Department directed by Germano Celant) and then at the IVAM-Instituto Valenciano de Arte Moderno in Valencia (directed by Vicente Todolì).  Ms Pozzati is mainly involved in contemporary art and art education. She worked with the Museum of Modern Art in Bologna, where she was Curator of the Education Department. She is a Professor of History and Methodology of Art Criticism at the Accademia di Belle Arti (Fine Arts Academy) of Bologna.

Ms Pozzati has published a number of books and papers including: Nel Segno di Giacometti (In the Footsteps of Giacometti), Clueb, Bologna, 1995; Alberto Giacometti. Il mio lungo cammino. Conversazioni (Alberto Giacometti. My Long Journey. Conversations), Hestia Edizioni, Cernusco Lombardone, 1998; 3D. La scultura contemporanea: luoghi, spazi, materiali (Contemporary Sculpture: Places, Spaces, Materials), Artè Editore, Bologna, 2002; Nicola Renzi. Siamo sempre soggetti (Nicola Renzi. We Are Always Subjects), Corraini Editore, Mantova, 2003, L’arte come amante. Da una collezione privata contemporanea (Art as a Lover. From a Contemporary Private Collection), Casa del Mantegna, Mantova, 2007; Racconti d’arte. Quando le parole incontrano le immagini (Tales of Art. When Words Meet Images), Editrice Compositori, Bologna, 2014; Artiste della critica (Artists of critique), Corraini Editore, Mantova 2015.

As an art critic, Ms Pozzati curates exhibitions held in both public and private premises. She has worked as a journalist since January 2007 and writes for the Corriere di Bologna, the Corriere della Sera’s regional insert. From July 2009 to May 2010 she was Councillor for Culture for the Province of Bologna. Since 2013 she has been a Board Member of the Foundazione del Monte di Bologna e Ravenna (the Del Monte Foundation for Bologna and Ravenna), responsible for Culture. She is a member of the Board of Directors at the Istituzione Bologna Musei (Bologna Museum Institution).