Vincent in the Basilica │ 2018

Placing in a unique historical context, the monumental Hall of the Basilica Palladiana in Vicenza (Italy), the exhibition project called “Van Gogh. Between the wheat and the sky” sought a definition that was as harmonious as possible, given the constraints linked to the air conditioning imposed by the exhibition material.

The rectangular plan of the Basilica, designed by Andrea Palladio in the sixteenth century, was divided lengthwise with a sign that manages the exhibition path in an orderly and rational way and, at the same time, that houses the machinery for the climatic safety of the rooms. The walls orthogonal to the central spine, forming large rooms without a roof, make it possible to never lose the relationship with the volume of the Basilica, at the same time creating a necessary intimacy for the exhibited works. The succession of open rooms ends in the only closed space of the exhibition. The room is designed for the projection of a film, specially created for the exhibition. The silk gray color is monochromatic for all the display walls and primary beams, a tone that is well suited to the type of works and the reaction of the lighting fixtures on the vertical surfaces.

Light plays a fundamental role in this exhibition, in which the visitor is immersed in a dark, almost theatrical atmosphere. Only the paintings emerge from the shadows, which are illuminated by perfectly centered cones of light. The artwork acquires an unexpected power. This is the result of research on lighting.

The “Vincent” spotlight was designed for this exhibition and it was subsequently commercialized with specific characteristics for the museums, to enhance the colors of the paintings, drawings or sculptures. The spotlights have a die-cast aluminum body and are based on LED technology, perfect for paintings, because it does not heat up and does not contain infrared or ultraviolet rays which damage the pigments.

It is possible to change the tone of white from warm light to cold light, within a wide range; in this way the curator was able to choose the most suitable for each painting. They also allow to frame the work, to create a contrast with the environment, bringing out the colors and making them more intense, reaching shades that are impossible with other lamps. Each piece needs its tonality: some paintings needed a little warm light; others needed a colder white. All spotlights were controlled via smartphone or tablet, based on the DALI system.