This sculpture, also called "Madonna Carrega", comes from Palazzo Tobia Pallavicino in via Garibaldi. It is one of the masterpieces produced in Genoa by the great Marseillaise sculptor, Pierre Puget who while in the city, coming from Rome, enjoyed one of the most productive seasons of his life, from 1661 to 1668, and participated in the introduction of the Baroque to the Ligurian capital. This work (about 1681) of the highest emotional impact, is influenced by the work of Michelangelo (e.g. the Madonna of Bruges) and also Bernini. The artist worked for a long time in Rome. It is interesting to note that the child appears as a "normal" child, plump and well looked after and happy, he seeks the attention of his mother, while Maria looks into the distance, certainly foreshadowing her dramatic future.

A humanist and politician, Pontano was perhaps Italy’s greatest Latin poet. This magnificent bronze bust (dating from around 1490) was commissioned by Alfonso of Aragon, Duke of Calabria and later King of Naples (Alfonso III), to honour him, in fact Pontano had also been his tutor. 
Adriano Fiorentino worked in bronze making statues and also engraving medals, he worked extensively in Italy and Germany, creating, among other things, two important busts: those of Ferdinand I, in Naples, and of Frederick the Wise, in Dresden.

Loans

Berlin, Gemaeldegalerie - Staatlichen Museen zu Berlin
from 25/08/2011 to 20/11/2011
for the exhibition "Gesichter der Renaissance - Meisterwerke italienischer Portrait-Kunst"

New York, The Metropolitan Museum of Art
from 21/12/2011 to 18/03/2012
for the exhibition "The Renaissance Portrait: from Donatello to Bellini"

Matera, Palazzo Lanfranchi
from 10/04/2019 to 19/08/2019
for the exhibition "Renaissance seen from the South. Matera, southern Italy and the Mediterranean between the 15th and 16th Centuries”

It is certainly a small fresco, but embodied within its great dynamism, colour and compositional wisdom, it represents an excellent example of the art of Luca Cambiaso (as does, the fresco displayed next to it, also coming from the same Villa Grimaldi Sauli al Bisagno, depicting Scipione freeing Massinissa's nephew).
It was part of the decoration of one of the rooms of the building, in a corner of the vault. An example whose relatively recent restoration (2010) has enriched, it shows the refined fresco techniques used by Cambiaso in his works, referring in the plasticity of the forms to a complex maturity, still mixed with 'Roman' colour and spatial suggestions, but in a decisive evolution towards a style of his own: note how the vivid, white light cuts the scene defining the struggling bodies with a geometricizing substantiality dear to the still young artist.

Loans

Genoa, Galata Museo del Mare
from 27/06/2016 to 10/01/2016
for the exhibition "Mare Monstrum. The imagery of the sea between wonder and fear"

This monumental fresco is by this very talented Milanese artist who was inspired by Leonardo da Vinci's Last Supper, it was completed around 1497. Braccesco’s is one of the first reflections on Leonardo's work, with some differences; Leonardo painted tapestries on the side walls, while Braccesco represented windows to justify the natural light that entered the refectory of the convent of Santa Maria della Pace, in which the work was located. Also note the basin of the Holy Grail in front of Jesus, which is the same as that seen in St. Lawrence's Treasure Museum in Genoa. The artist inserts a precise reference to the famous relic present in the city, the first example of a motif later taken up in Genoese painting of later centuries. The fresco was severely damaged due to its rapid removal, before the church was destroyed (early 1900s).

The Crucifixion was the central panel of a polyptych to which, in addition to the Saint Peter exhibited here, also Saint Nicholas of Tolentino and Saint Vincent Ferrer belonged, these are currently preserved in the Národní Galerie in Prague. The work is attributed to Ludovico Brea from Nice, one of the formost protagonists of Ligurian figurative culture. Tradition has it that it was created by the artist for Biagio de'Gradi in 1481. In that year, in fact, Biagio de'Gradi drew up his will, in which he asked to be buried in his chapel inside the church of San Bartolomeo degli Armeni. In the document, however, there is no mention of the polyptych, which was perhaps commissioned by his heirs, who were responsible for the completion and decoration of the chapel. Recent studies suggest that the painting dates to the last years of the fifteenth century, as suggested by is stylistic-formal characteristics.
The luminous naturalism is of Nicoise and Avignon derivation and Flemish imprint, consistent with Brea’s training, while the plastic rendering is derived from Lombard painting, and in particular from Foppa, with whom Ludovico collaborated in the drafting of the polyptych Della Rovere in Savona (completed in 1490 ), and which characterizes the previous works, and here add  to the admirable balance of the composition, given by the relationship between space and figures, the attention to the play of light and shadow and the breadth of the landscape.