ABSTRACT
The sole monographic exhibition dedicated to the fifteenth-century Italian artist Bartolomeo della Gatta was staged in 1930 in the renovated rooms of Palazzo Pretorio in Arezzo. It was an event that should be framed in its historical context, that is at the peak of popularity of the fascist regime. The exhibition dedicated to the Camaldonian monk and painter, however, was not solely Salmi's idea. The exhibition was cutting edge because it was one of the first Italian monographic events focused on an Old Master to include a catalogue with a rich illustrative apparatus. The profile of Bartolomeo della Gatta which emerges from the 1930 exhibition and catalogue is that of an artist whose analysis is mostly limited to his Arezzo experience, a critical reading not too far from the portrait of the painter that Giorgio Vasari presented in his Vite.
