The Year of Capodimonte

Leading the Museo e Real Bosco di Capodimonte is a magnificent opportunity for every expert and a great challenge for all culture managers,” says Director Eike Schmidt. After curatorial positions at institutions such as the National Gallery of Art in Washington DC, the J. Paul Getty Museum, and his eight-year tenure as the director of the Uffizi in Florence, Schmidt took up his new post in January 2024 and is guiding the Naples-based museum into its next phase with unwavering commitment.

The second-largest art museum in Italy, the Museo e Real Bosco di Capodimonte has a storied past. The site was originally created as a hunting reserve for King Charles of Bourbon and remained a royal residence for the two dynasties that followed: the Bonapartes and the Savoy. The construction of the palace began in 1734 and was intended for the display of the famed Farnese collection—inherited by Charles through his mother, Elisabetta Farnese—which includes masterpieces such as Parmigianino’s Antea (1535) and Titian’s Danaë (1544–46). Over time, the collection was enriched through acquisitions by the royal families, works from Neapolitan churches and convents, and important gifts from private collectors. In the 18th and 19th centuries, it became a must-see destination on the Grand Tour travels through Italy. In 1950, the residence opened its doors to the public as a national museum.

Across 124 rooms on three principal levels, nearly 50,000 objects from the museum’s collection tell many stories, ranging from medieval to contemporary art. “Capodimonte is unique among Italian museums: its collections do not end with the 19th century, but since the acquisition of Great Black Cretto by Alberto Burri in 1979, it has actively added contemporary art to its holdings. Visitors can see art from all ages, from the 11th century to the present day,” shares Schmidt. “These works of art tell the story of Naples through its collecting. There are masterpieces that arrived through inheritance, such as the Farnese collection, requisitioned during monastic suppressions, acquired by the Bourbons, or entrusted to Capodimonte following historical events or for safekeeping.”

For Schmidt, his focus lies on revitalizing Capodimonte through various initiatives. “In Italy, and also among international tourists, this destination is not perceived for its great artistic value. The number of visitors is, in fact, far below its potential,” Schmidt shares. Guiding the Capodimonte at this moment in its history, while the “building is changing its skin to become ecologically sustainable and the park is undergoing major works,” makes Schmidt and his team “feel like protagonists of an epochal change.”

Among these major (re)constructions is a comprehensive redesign of the museum’s galleries, to invite both reflection on its past and look toward the future. “We certainly want to restore the museum’s identity as a royal residence. For example, by placing the collection of 19th-century art on the piano nobile, following the lead of one of the great former directors of the Capodimonte, Bruno Molajoli (1905–1985). This way, we tell the story of the time of the Savoy family, when a gallery of contemporary art with Neapolitan painters of the time was planned in the Reggia,” Schmidt explains. “For the second floor, we are thinking about a completely new layout: the major masterpieces from the Middle Ages to the 17th century will be exhibited using modern museological criteria.”

Another important focus for the museum’s exhibits will be its upcoming display of porcelain—its collection boasts around 7,000 objects. “2025 will be the year of porcelain for us,” Schmidt shares. “In 14 rooms, we can finally give space to this identity. The decorative arts constitute one of the founding nuclei of the Capodimonte, both because the name itself and the location refer to the Royal Porcelain Manufactory created by Charles of Bourbon in 1743.” Schmidt shares that already in the late 19th century the museum began to receive collections of applied arts from various royal sites—donations and acquisitions of both antique and contemporary porcelain continue to the present day.

Additionally, Schmidt has embarked on a large-scale restoration project with an emphasis on public engagement. Carried out in the museum’s galleries, restorations can be followed live through specially placed windows. “Caring for our heritage is our priority. Recently, two rooms in the museum were transformed into a ‘transparent laboratory’ to house 20 large panels from the Bourbon collection and one from the Farnese collection.” Restoration on these works of art is expected to take about two years. Schmidt says, “The large paintings to be restored were moved to rooms on the second floor in groups of five at a time, then returned to the exhibition once the work was completed. All under the eyes of the visitors.”

An equally important but less visible concern relates to the building and its interiors, which has prompted an extensive energy project focused on implementing sustainable measures. Schmidt hopes that Capodimonte will become a frontrunner within the museum world. "The absence of air conditioning in many galleries and an outdated system, which does not provide the necessary stability as far as the air humidity is concerned, have been harming and putting our treasures at great risk for too long. These problems put works of art at risk due to the temperature fluctuations,” Schmidt divulges. At Capodimonte, the project will create an ideal environment for the proper conservation of the masterpieces and at the same time be comfortable for visitors. “The great energy transition project—which has been underway for more than a year with impressive work and will be completed by January 2026—will bring this Neapolitan museum to the forefront of sustainability in Europe and the world.”

While efforts focus on the museum’s collections and its building, Schmidt also looks beyond the walls of the residence, ardently believing in reestablishing the connection between the museum and the city of Naples and its inhabitants. “Capodimonte is located on a hill in the historic center of Naples. We are close to densely inhabited places such as Miano and Secondigliano, and we all share a sense of strong social activism.” The museum works closely with various local initiatives, organizing workshops and collaborating with local artists. The park’s “fitness path” has received an upgrade and a second pitch for five-a-side football has been added, which can be used for free. “The park has always been the green lung of the city, frequented by many kids who play football,” explains Schmidt. “The majority probably doesn’t even know that right next to them there is one of the most important museums in the world. Our mission is to make them understand that this extraordinary wealth belongs to them.”