Book time slot reservation tickets online to visit the Pinacoteca di Brera art museum to see the best painting collection in Milan. This gallery of Italian art is rarely fully booked, but it is sensible to buy the essential time-slot tickets a few days in advance.
The Pinacoteca di Brera is the top art museum in Milan. Its main focus is Italian paintings from the late Middle Ages to the 19th century. The collection includes works by famous Italian artists, including Mantegna, Titian, Tiepolo, Tintoretto, Caravaggio, and Hayez. It also has a large collection of paintings by leading artists from the Lombardy region. Of the small sculpture collection, Canova’s Napoleon is the most prominent. The Brera gallery in Milan is a delight to visit — the art is world-class, but the museum is not overly big and rarely crowded. Time-slot reservation tickets are essential, but these are generally easy to buy or book a guided tour.
Visit the Brera Art Museum in Milan
Travelers to Italy often overlook the delightful Pinacoteca di Brera di Milano, the largest and most important art museum in Milan. Milan is often more associated with fashion, shopping, trade, opera, food, and The Last Supper than with paintings from the 13th to 19th centuries.
However, the collection of the Brera is world-class with paintings by most important Italian artists since the late Middle Ages. The museum comprises fewer than 40 rooms, which are not overly big, making it easy to get a good overview of Italian art in a relatively short time. Visiting the Brera is never as demanding physically or mentally as dragging through the crowds and the endless halls of the Uffizi or the Vatican Museums. (Although the art in Florence or Rome is, of course, on a different level.)
Milan’s only two paintings by Leonardo da Vinci are not in the Brera. The Last Supper is in the refectory of Santa Maria delle Grazie, while the Ambrosiana is home to his The Musician painting and drawings from the Codex Atlanticus.
Art in the Palazzo Brera in Milan
The Pinacoteca di Brera is on the upper level of the Palazzo Brera, a large former monastery complex that the art museum shares with the art academy. Follow the stairs (behind Napoleon) to the upper level to enter the art museum.
The museum collection is displayed roughly chronologically from the late Middle Ages to the mid-19th century. The fewer than 40 rooms are grouped around a large courtyard — visitors proceed clockwise from the entrance until reaching the pleasant cafe at the exit.
Newer art, mostly 20th century, is in the nearby Palazzo Citterio — separate tickets and shorter opening hours.
Even if not visiting the museum, stroll into the complex and enjoy some art for free. The Canova’s bronze Napoleon, modesty covered, stands proudly in the main courtyard. In the arcades deeper into the complex are several plaster casts of famous sculptures, including works by Michelangelo (from the Medici Chapels), Hercules at Rest (from the MANN in Naples), and the shameless Barberini Faun (original from antiquity is in the Glyptothek in Munich, many copies elsewhere, including the Louvre and the Bode-Museum in Berlin).
Top Art in the Brera Art Museum in Milan
The Pinacoteca di Brera has the world’s best collection of paintings by artists from Milan and Lombardy. It also has significant works by other Italian artists, especially Venetian masters, making it easy to get a good overview of Italian paintings since the late Middle Ages.
From medieval altarpieces to Renaissance masterpieces, Baroque drama to Romantic passion, the museum offers a journey through centuries of Italian art in an intimate, contemplative setting. Many visitors are pleasantly surprised that such a world-class art collection can be enjoyed in such a relatively calm and uncrowded gallery in the heart of a large city.
Some of the top works (and a few personal favorites) include:
Medieval Works
The Brera preserves an impressive collection of Gothic and early Renaissance art, much of it transferred from churches across northern and central Italy. These works show the gradual transition from Byzantine-inspired iconography to the naturalism of the Renaissance.
- Pietro Lorenzetti, Madonna and Child, 1320–1323
- Bernardo Daddi, St. Lawrence, c. 1340
- Giovanni di Paolo, Madonna of Humility, c. 1430
- Benozzo Gozzoli, San Domenico Revives Napoleone Orsini, 1461–1462
- Bonifacio Bembo, St. Julian and St. James the Greater, c. 1450
- Donato Bramante, fresco fragments transferred to canvas, late 15th century
- Niccolò di Liberatore (Alunno), Cagli Polyptych, 1461
- Giovanni Angelo d’Antonio, Gualdo Tadino Polyptych, c. 1462–1465
Mantegna’s Radical Realism
Andrea Mantegna, Lamentation over the Dead Christ, c. 1483 — one of the best-known and most studied works in the Brera.
Mantegna’s daring foreshortening presents Christ’s body head-on but feet first. His wounds are starkly visible while mourners grieve at his side. The work’s realism is tempered by compositional restraint, making it one of the Brera’s most unforgettable images.
Further works by Mantegna in the collection include Madonna of Cherubim, St Bernardino of Siena with Angels, and the St. Luke Polyptych.
Venetian Painters in the Brera
The Venetian painters are generally internationally far better known than artists from Lombardy. Although the Brera does now have the extensive collection of, for example, the Gallerie dell’Accademia in Venice, it does have several outstanding paintings by Venetian artists:
Paolo Veronese in the Brera
Paolo Veronese’s canvases dazzle with grandeur, theatrical settings, and luminous color. The Brera displays several fine examples:
- Baptism and Temptation of Christ, c. 1582 – Two Gospel moments presented in a vast, luminous scene.
- Dinner at Simon’s House, c. 1570 – Also known as The Feast in the House of Simon the Pharisee, this monumental banquet is filled with opulence and theatrical mise-en-scène that blurs sacred narrative and Venetian spectacle.
- Christ in the Garden of Gethsemane, c. 1583–1584 – A contemplative vision marked by eerie spiritual light.
- The Last Supper, 1585 – A sacred event transformed into a Renaissance feast set in grand architecture.
Titian’s Presence
Milan doesn’t host a large number of Titians, but two works provide a potent glimpse into his artistry:
- Titian, Penitent St. Jerome, c. 1550–1560 – A late canvas showing the saint in the wilderness, surrounded by symbolic creatures.
- Titian, Portrait of Count Antonio Porcia and Brugnera, c. 1535–1540 – A sober, dignified portrait marked by subtle elegance.
Together, these works show Titian’s dual mastery: the spiritual introspection of the former and the composed dignity of the latter.
Venetian Luminance and Drama
Other Venetian painters brought both tenderness and spectacle to the Brera’s galleries.
- Giovanni Bellini, Pietà, c. 1460 – A quiet, glowing meditation on grief.
- Gentile and Giovanni Bellini, St. Mark Preaching in Alexandria, 1504–1507 – A monumental vision of Venice’s patron saint in an exotic setting, blending spectacle with devotion. The blend of Venetian grandeur and Eastern fantasy makes it both a devotional scene and a dazzling portrait of Renaissance Venice’s fascination with the wider world.
- Michele da Verona, Crucifixion, 1501 – A crowded, energetic Passion scene where Gothic detail meets Renaissance perspective.
- Tintoretto, The Discovery of the Body of Saint Mark, c. 1562 – Elongated forms and dramatic diagonals turn this into a storm of light and faith. (Others from this St Mark series are in the Gallerie dell’Accademia, while Tintoretto really stars in the Grande Scuola di San Rocco.)
Golden Room in the Brera
Halfway through the museum is the blandly named “Central Italian Painting, 15th-16th century” hall, room 24 (or 26 depending on the map). This hall is often referred to as The Golden Room, as it is home to three of the top stars in the Brera collection:
Raphael’s Harmonious Grace
Raphael, The Marriage of the Virgin, 1504, is one of the Brera’s most cherished treasures. Painted in his early twenties, Raphael arranges the sacred wedding scene with impeccable symmetry. The domed temple in the background and the serene figures embody the clarity and harmony of Renaissance ideals.
Many scenes from the life of the Virgin Mary (and her parents, Anne and Joachim), including the marriage, assumption, and coronation, are not in the standard Bible but are popular recurrent themes in Roman Catholic art.
Piero della Francesca
Piero della Francesca, Madonna and Child with Saints, Angels and Federico da Montefeltro (also known as the San Bernardino Altarpiece, Brera Madonna, or Montefeltro Altarpiece), 1472–1474, is a large painting of the Sacred Conversion between the Virgin and the saints. It was commissioned by Federico da Montefeltro, who appears in the dress of a military commander.
This serene altarpiece places the Virgin and Child beneath a domed apse flanked by saints and angels. Its geometric order and stillness epitomize Piero’s vision of divine harmony. The painting was originally even larger, with the gathering taking place under the lantern of a dome.
Donato Bramante
Donato Bramante, Christ Tied to the Column, 1490–1499, is the only painting attributed with certainty to Bramante. (Fresco fragments are elsewhere in the museum.)
Before he became one of the Renaissance’s greatest architects, Bramante painted this powerful devotional work. The cool, sculptural quality of the anatomy reflects Bramante’s architectural eye, while the stark setting heightens the emotional intensity. It is a rare glimpse into the painterly side of a man better known for reshaping Renaissance architecture, and a work that anchors the Brera’s late 15th-century collection with quiet power.
Caravaggio’s Chiaroscuro Revelation
A few rooms further is Caravaggio’s Supper at Emmaus, 1606. (It seems to travel frequently.)
Christ’s revelation to his disciples explodes with theatrical light and shadow. The startled gestures and intense expressions capture Caravaggio’s unmatched ability to make sacred drama immediate and tangible. This work is similar to his slightly earlier Supper at Emmaus, 1601, in the National Gallery in London, but far less brightly colored.
Romantic Passion
Nineteenth-century painters brought new themes of love, patriotism, and sacrifice.
- Francesco Hayez, The Kiss, 1859 – Painted at the height of Italy’s unification, Hayez’s famous canvas embodies both patriotic fervor and romantic longing. Today, the lovers’ embrace still feels cinematic—an eternal story frozen in one heartbeat. It is one of the most famous paintings in Milan and one of several in the Brera by Hayez.
- Girolamo Induno, A Great Sacrifice, 1860 – A mother kisses her son goodbye as he departs for war, a poignant echo of Hayez’s romantic drama.
Broadening the Canon
Beyond the great names, the Brera rewards visitors with hidden gems that expand the story of Italian art.
- Daniele Crespi, The Last Supper, 1629–1630 – A restrained interpretation with the surprised disciples echoing Leonardo.
- Bronzino, Portrait of Andrea Doria as Neptune, c. 1545–1546 – A daring classical allegory of power.
- Bernardino Luini, Madonna of the Rose Garden, c. 1510 – A tender Lombard vision filled with symbolic flowers.
- Giovanni Gerolamo Savoldo, San Domenico in Pesaro Altarpiece, c. 1524 – A monumental, luminous gathering of saints.
- Giulio Cesare Procaccini, Mystic Marriage of Saint Catherine, c. 1616–1620 – Devotion infused with softness and grace.
Flemish Masters
The Brera also highlights a few works from beyond Italy, particularly the Flemish tradition.
- Peter Paul Rubens, The Last Supper, early 17th century
- Jacob Jordaens, The Sacrifice of Isaac, 1625–1626
- Anthony van Dyck, Madonna and Child with St. Anthony of Padua, 1630–1632
- Anthony van Dyck, Portrait of a Lady, 1635
Antonio Canova’s Nude Napoleon as Mars the Peacemaker
The Brera focuses on paintings, as the name Pinacoteca clearly indicates. However, a few sculptures are also displayed. The most famous is Canova’s Napoleon, or rather two versions of the same work.
Antonio Canova conceived Napoleon as Mars the Peacemaker in 1802, shortly after Napoleon had consolidated power as First Consul. Inspired by ancient Roman statuary, Canova portrayed him nude and idealized, holding a staff and a small winged Victory.
The original marble was meant for the Louvre, but Napoleon disliked its heroic nudity and kept it hidden. Despite his reluctance, the statue became one of Canova’s best-known works, a bold blend of neoclassical ideals and political propaganda. The head was often reproduced in busts of Napoleon.
Bronze Naked Napoleon with Victory in the Courtyard
The imposing bronze cast, unveiled in 1811 in the courtyard, continues to welcome visitors to the Brera. Here Napoleon appears as a Roman god, serene yet commanding, his body modeled with classical perfection. The bronze gleams against the sober architecture, its scale and posture projecting authority. Even if you’re not visiting the museum, it’s worth strolling in for a look; this part of the complex is open to the public for free.
Inside, Canova’s full-size plaster model from 1809 provides a more intimate view of the same vision. The surface retains a softness and detail absent from the polished bronze, revealing the sculptor’s working process. Up close, the contrapposto stance and lifted arm carrying Victory (only on the bronze outside) feel less like cold imperial iconography and more like an exploration of balance and anatomy.
After Napoleon’s defeat, the British government acquired the original marble version and gifted it to the Duke of Wellington. It is still displayed indoors, as Canova intended, in Apsley House in London.
Visitor Information: Pinacoteca di Brera di Milano
Opening Hours of the Brera Art Museum
The Pinacoteca di Brera is open Tuesday to Sunday from 8:30 to 19:00 (last admission at 18:00).
The Brera is closed on Mondays and December 25.
The Palazzo Citterio (modern art) is open Thursday to Sunday from 14:00 to 19:00.
Tickets to Visit the Brera Art Museum in Milan
Admission tickets to visit the Pinacoteca di Brera (including Palazzo Critterio) are:
- €15 (€20) — standard entry tickets
- €10 (€14) — adult(s) visiting with a child under 18.
- €2 (€4) — EU youths 18 to 25
- €7.50 (€10) — visitors over 70 years on Tuesday and Wednesday
- Free — children under 18 years, all visitors on the first Sunday of the month.
All visitors need a time slot reservation to enter the Brera Museum.
Buying a ticket for the Brera is fairly easy. Time slots are often available for immediate entry, and even in the high season, summer, and weekends, bookings are usually possible a day or two in advance. It is not essential to book months in advance, as for Da Vinci’s The Last Supper in Milan. Like any museum, early morning, lunch, and late afternoon are the quieter times, but it never gets as crowded as the Uffizi in Florence or the Vatican Museums.
Transportation to the Brera Art Museum in Milan
The Pinacoteca di Brera, Via Brera 28, 20121 Milan (Italy), is a few blocks to the north of the Duomo, Galleria Vittorio Emanuele II, and La Scala.
The closest metro stations and tram stops are Lanza and Montenapoleone. The closest bus stop is Piazza San Marco (bus 85), but from the center, including Duomo, walking is usually the simplest option.
More Tips on Milan Sights and Tickets
- Top Leonardo da Vinci Sights and Art to See in Milan
- The Last Supper by Leonardo Da Vinci:
- How to Buy Tickets for the Last Supper,
- What to Expect when Visiting the Last Supper Museum,
- Tips on How to Buy Tickets or Book Tours for the Last Supper Museum — buy early or only guided tours are available,
- How to Get Free Tickets for The Last Supper and a step-by-step guide for booking free Sunday tickets,
- Booking Guided Tours of The Last Supper at GYG.
- Visit Chiesa di Santa Maria Delle Grazie — admission to the church next to The Last Supper Museum is free.
- Visit the Free San Maurizio Church — endless Renaissance frescoes in the “Sistine Chapel of Milan”
- Visit the Pinacoteca Ambrosiana to See Leonardo Da Vinci’s Musician Painting and the Codex Atlanticus.
- Visit the National Museum of Science and Technology Leonardo da Vinci
- Milan Duomo Complex:
- Cheapest Public Transportation to Milan Malpensa Airport (MXP).
- Book luggage storage in advance — close to transportation hubs is generally the better option.
- Book Last Supper Tours at Viator.
- Book Guided Tours for the Duomo, Last Supper, and other sights in Milano from Get Your Guide.
- Buy Admission Tickets for the Duomo and top sights in Milan from Tiqets.
- Buy Milan Guidebooks at Amazon.