‘The didactic exhibition on Caravaggio, entitled “Ex umbris in veritem”, intends providing a concise idea of the works of the master painter. Images are displayed of some of his most significant works belonging to a period that goes from his Roman beginnings to his last years in Naples, from around 1592 to 1610. But why the title “ex umbris in veritatem”? Because it is significant with respect to the evolution of the great Lombard painter’s thought and technique, projected towards the quest for reality which ideally accompanies an increasingly deeper and dramatic quest for the ultimate truth of things. In studying Caravaggio, it is impossible to separate the artist’s works from his personality and the aim of the exhibition is in fact to highlight the realistic and “theatrical” effects of the representation, but also to focus on a series of fundamental problems such as the painter’s relationship with the Church, with his customers, with Catholic tradition, at a time of strong cultural debate.’