Over the centuries, humanity has created artistic masterpieces of immeasurable value, but recently, what has been so magnificent is giving way to socio-environmental and cultural neglect—as recently happened to the archaeological excavations of Pompeii—which obliterates the beauty and intrinsic meaning of many works of art. From this observation, Marco Iannaccone's photographic journey can be considered a journey: an imaginative, original, and ironic journey through the centuries of international art history, beginning with the particular and arriving at the universal. An excursus into the artistic masterpieces of our cultural tradition, works of art we all know, which represent our history and contribute to enriching our imagination day after day; an itinerary that aims to weave and demonstrate the profound bond that unites humanity with all that is beautiful and created. Indeed, everyone participates in beauty and creation, and we are all, universally, responsible for and custodians of them. Farewell, my beautiful Naples! and a melancholy yet affectionate tribute to the beauty of this city, caged and suffocated by garbage, by waste that doesn't even spare the siren Parthenope, herself suffocated and polluted. A sick land, an uninhabitable sea. All creatures, even mythological ones, return to open our eyes. Millet's Ophelia, photographed on a trash-filled beach. Then the "two Fridas" by Mexican artist Frida Kahlo: a heart thrown into the trash, because "bad love is garbage." The journey continues with Caravaggio's "Petrified Medusa," who has shreds of bags and snakes in her hair; with the "Narcissus of the Leachate," who is reflected in a polluted pond; and again with "Judith Killer Trash" and "The Boy Struck by the Tramp." Leonardo's "Mona Lisa" transforms into "Munnez Lisa" and Botticelli's "Venus" into "The Venus of Putridume": the hieratic nature of these masterpieces gives way to forms covered in garbage bags, a constant presence in "Universal Refuse" and "Contaminated Christ." Marco Iannaccone's photographic representations aim for a powerful visual and emotional impact, prompting any observer to realize that a work of art, even if mistreated and neglected, remains a "divine" creation, and the signs of beauty it emanates can be tarnished but not erased. Hence the reference to Naples, which must survive and reclaim its role as an artistic and cultural capital. Proust asserted: "The true land of barbarians is not that which has never known art, but that which, strewn with masterpieces, knows neither how to appreciate them nor how to preserve them." The paintings reproduced by Marco Iannaccone are the following: The Last Judgement (Michelangelo) – The Universal Refusal – The Birth of Venus (Botticelli) – The Venus of Putridity Mary Magdalene (Bocklin) - Mary Magdalene – The Pietà of Terzigno – Boy bitten by a lizard (Caravaggio) – Boy hit by the tamarro – Narcissus (Caravaggio) – The Narcissus of the leachate Medusa (Caravaggio) – The Petrified Medusa – Judith and Holofernes (Caravaggio) – Judith killer trash – The two Fridas (Frida Kalho) – Bad love is basura – Maya naked and dressed (Goya) – Basura dressed and basura naked – The Scream (Munch) – The fetid scream – The lovers (Magritte) – These are not lovers of order - The man with the bowler hat ( Magritte) – This Is Not a Bag of Ordeal – The Veiled Christ (Sanmartino) – The Defiled Christ – The Demoiselles of Avignon (Picasso) – The Demoiselles of Ordeals – Ophelia (Millais) – Death of Ophelia – The Forsaken City Gioconda (Leonardo) – Munnez Lisa. “Farewell, My Beautiful Naples” and “Mors Partenope – Abyssus abyssum invocat” are original works by Marco Iannaccone.