Ca' Centopietre Bed and Breakfast Venice, Italy

Leonardo: The Vitruvian Man between Art and Science - Accademia Galleries

 
Back after seven years from the time it was the last shown at Venetian museum where where it had been kept since 1822 is Leonardo's celebrated drawing depicting the ideal human proportions according the canon of proportions as set by Roman architect Vitruvio Pollio (2nd century A.D.).

This workhas been subject of a recent study that has examined its two main aspects, scientific and artistic, and is illustrated and elaborated in this show thanks to an impressive educational and audio-visual system.

www.galleriaaccademia.org

Prendergast in Italy - Peggy Guggenheim Collection

  
is exhibition will assemble for the first time the major works by American artist, Maurice Prendergast, during two trips to Italy (1898-99 and 1911-12): a body of work that is one of the most attractive and revealing in the story of American art. The exhibition brings together approximately seventy-five of his Italian watercolors, oils, and monotypes as well as photographs, films, guidebooks, and travel advertisements that situate the work within the new visual culture that Americans had embraced by 1900. The presentation of Prendergast’s works in Italy where they were created offers a new point of interest, and contributes to the comprehension of what characterized Modernism in the early 20th century and of the role Prendergast played in the development of Modern art in America. The exhibition is organized by the Williams College Museum of Art, Williamstown, Massachusetts, in partnership with The Terra Foundation for American Art, Chicago, Illinois

Punta della Dogana - The Center of Contemporary Art

 

With its triangular shape, Punta della Dogana split the Grand Canal from the Giudecca Canal. As center for contemporary art , the former monumental port of the city present a permanent exhibition of works from François Pinault Collection.

From 6 June 2009, Palazzo Grassi and Punta della Dogana present the exhibition Mapping the Studio which brings together a selection of works from the collection of François Pinault and rebuilt the course of each, from conception to the inner world of the artist, up to the integration with the private collection.

Contemporary Art Center Punta della Dogana

Punta della Dogana from June 6th 2009

Inauguration of the new Venetian Museum dedicated to Contemporary art.

Palazzo Grimani Venice

In reference to the decree of the 11th of December 2001, the Department of the Cultural Heritage committed the responsability for Palazzo Grimani, bought in the year 1981 by the State, to the Cultural Activities with the Special Board for the Venetian Pole of Museums.

The palace, reopened on the 20th of December 2008, represents a very precious and international novelty for the city of Venice for what concerns the peculiarity of the architecture, the decorations and for the history that characterized its vicissitudes.

Church if San Barnaba- Leonardo's Machines

Some of 40 models varying in type and size are faithfully reproduced according to their original drawing and present an overview of the huge colection of Leonardo's inventios: fromk th fields of building to mechanics, from hydraulics to war and flying machines.

Open daily 9:30 am - 7:30 pm

Gallery Franchetti Ca' D'Oro

The Ca’ d'Oro, an ancient patrician residence of the fifteenth-century, gethers the art collection which Baron Giorgio Franchetti, who bought the building in 1894, gave the State.

In this house, decorated with a Venetian Gothic style, through fascinating architectonical glimpses, it is possible to admire paintings of the Venetian school among which the famous San Sebastiano by Andrea Mantegna, works of the Tuscan and the Flemish school, wonderful bronze statues and Renaissance statues as well.

At Ca’ Duodo, the palace next to the Ca’ d'Oro, there is an interesting collection of ceramics found  in the Venetian lagoon

Museum Fond. Scientifica Querini Stampalia

Residene Museum of Querini-Stampalia Family.

Library, archive, gallery, forniture and househod objects from the 16th century. Important paintings by Bellini, Palma, Ricci, Tiepolo nd Longhi.

Gallery: Tuesday- Saturday 10am-8pm

http://www.querinistampalia.it

Musei Civici Veneziani

 

The Musei Civici Veneziani brings together museums and collections of immense artistic and historical importance. It is responsible for providing various cultural services and, at an institutional level, for overseeing the conservation, study and promotion of the city’s vast cultural and artistic heritage, thus contributing to the city’s sense of identity.

The museums are grouped around various areas of interest: St Mark’s Square; 18th-century Venice; modern and contemporary art; natural history and ethnography. Each one of these attracts a sizeable public from among tourists and young people, offering a wide range of innovative and modern services to facilitate full educational exploitation of the material on display.
The museums also hold special exhibitions of material contained in their individual collections, as well as art and historical exhibitions of international importance.

For Time and tickets: http://www.museiciviciveneziani.it/frame.asp?sezione=biglietti

Posted by Carlo at 05:48 PM in Museum | Permalink | Comments (0)

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Ca’ Rezzonico - The Museum of Eighteenth-Century Venice

Ca' Rezzonico This magnificent palace, now the Museum of Eighteenth-Century Venice, was designed by the greatest Baroque architect of Venice, Baldassare Longhena for the aristocratic Bon family, and work began on it in 1649. Longhena's death in 1682, almost at the same time as that of his noble client, together with the financial problems of the Bon family, brought work to a halt, leaving the palace incomplete. In the meantime, the Rezzonico family - originally from Lombardy - had moved to Venice and in 1687 had purchased a title. Giambattista Rezzonico, merchant and banker, bought the palace in 1751 and appointed Giorgio Massari, one of the most highly esteemed and eclectic artists of the day, to complete it. Work proceeded rapidly and in 1756 the building was finished. While the magnificent facade on the Grand Canal and the second piano nobile followed Longhena's original project, Massari was responsible for the audacious inventions towards the rear of the palace: the sumptuous land-entrance, the ceremonial staircase and the unusual grandiose ballroom obtained by eliminating the second-floor in this portion of the building. As soon as the building was completed, the most important painters in Venice were called upon to decorate it: Giambattista Crosato, who painted the frescoes in the ballroom together with the trompe l'oeil painter Pietro Visconti; Giambattista Tiepolo, who painted two ceilings in celebration of the marriage between Ludovico Rezzonico and Faustina Savorgnan; the young Jacopo Guarana and Gaspare Diziani. The building was fully complete by 1758, when Giambattista Rezzonico's younger brother, Carlo, Bishop of Padua, was elected Pope under the name Clement XIII: this was the peak of the family's fortunes and the palace at San Barnaba celebrated the event in grand style. But by 1810 - scarcely fifty years later - the family had died out. For the palace and its great heritage of art and history this was the beginning of a long, troubled period of sales and dispersions. Stripped of its furnishings, which were subdivided among the heirs and then sold, the palace passed through the hands of various owners in the nineteenth century; purchased by the English painter, Robert Barrett ("Pen") Browning, it was chosen as a residence by his father, the writer Robert Browning, who died there. It was subsequently taken over by Count Lionello Hirschell de Minerbi, a Member of the Italian Parliament, who, after lengthy and complex negotiations, sold it to the Venice Town Council in 1935.

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Ca' Rezzonico This magnificent palace, now the Museum of Eighteenth-Century Venice, was designed by the greatest Baroque architect of Venice, Baldassare Longhena for the aristocratic Bon family, and work began on it in 1649. Longhena's death in 1682, almost at the same time as that of his noble client, together with the financial problems of the Bon family, brought work to a halt, leaving the palace incomplete. In the meantime, the Rezzonico family - originally from Lombardy - had moved to Venice and in 1687 had purchased a title. Giambattista Rezzonico, merchant and banker, bought the palace in 1751 and appointed Giorgio Massari, one of the most highly esteemed and eclectic artists of the day, to complete it. Work proceeded rapidly and in 1756 the building was finished. While the magnificent facade on the Grand Canal and the second piano nobile followed Longhena's original project, Massari was responsible for the audacious inventions towards the rear of the palace: the sumptuous land-entrance, the ceremonial staircase and the unusual grandiose ballroom obtained by eliminating the second-floor in this portion of the building. As soon as the building was completed, the most important painters in Venice were called upon to decorate it: Giambattista Crosato, who painted the frescoes in the ballroom together with the trompe l'oeil painter Pietro Visconti; Giambattista Tiepolo, who painted two ceilings in celebration of the marriage between Ludovico Rezzonico and Faustina Savorgnan; the young Jacopo Guarana and Gaspare Diziani. The building was fully complete by 1758, when Giambattista Rezzonico's younger brother, Carlo, Bishop of Padua, was elected Pope under the name Clement XIII: this was the peak of the family's fortunes and the palace at San Barnaba celebrated the event in grand style. But by 1810 - scarcely fifty years later - the family had died out. For the palace and its great heritage of art and history this was the beginning of a long, troubled period of sales and dispersions. Stripped of its furnishings, which were subdivided among the heirs and then sold, the palace passed through the hands of various owners in the nineteenth century; purchased by the English painter, Robert Barrett ("Pen") Browning, it was chosen as a residence by his father, the writer Robert Browning, who died there. It was subsequently taken over by Count Lionello Hirschell de Minerbi, a Member of the Italian Parliament, who, after lengthy and complex negotiations, sold it to the Venice Town Council in 1935.

Ca’ Rezzonico - The Museum of Eighteenth-Century Venice

Ca' Rezzonico This magnificent palace, now the Museum of Eighteenth-Century Venice, was designed by the greatest Baroque architect of Venice, Baldassare Longhena for the aristocratic Bon family, and work began on it in 1649. Longhena's death in 1682, almost at the same time as that of his noble client, together with the financial problems of the Bon family, brought work to a halt, leaving the palace incomplete. In the meantime, the Rezzonico family - originally from Lombardy - had moved to Venice and in 1687 had purchased a title. Giambattista Rezzonico, merchant and banker, bought the palace in 1751 and appointed Giorgio Massari, one of the most highly esteemed and eclectic artists of the day, to complete it. Work proceeded rapidly and in 1756 the building was finished. While the magnificent facade on the Grand Canal and the second piano nobile followed Longhena's original project, Massari was responsible for the audacious inventions towards the rear of the palace: the sumptuous land-entrance, the ceremonial staircase and the unusual grandiose ballroom obtained by eliminating the second-floor in this portion of the building. As soon as the building was completed, the most important painters in Venice were called upon to decorate it: Giambattista Crosato, who painted the frescoes in the ballroom together with the trompe l'oeil painter Pietro Visconti; Giambattista Tiepolo, who painted two ceilings in celebration of the marriage between Ludovico Rezzonico and Faustina Savorgnan; the young Jacopo Guarana and Gaspare Diziani. The building was fully complete by 1758, when Giambattista Rezzonico's younger brother, Carlo, Bishop of Padua, was elected Pope under the name Clement XIII: this was the peak of the family's fortunes and the palace at San Barnaba celebrated the event in grand style. But by 1810 - scarcely fifty years later - the family had died out. For the palace and its great heritage of art and history this was the beginning of a long, troubled period of sales and dispersions. Stripped of its furnishings, which were subdivided among the heirs and then sold, the palace passed through the hands of various owners in the nineteenth century; purchased by the English painter, Robert Barrett ("Pen") Browning, it was chosen as a residence by his father, the writer Robert Browning, who died there. It was subsequently taken over by Count Lionello Hirschell de Minerbi, a Member of the Italian Parliament, who, after lengthy and complex negotiations, sold it to the Venice Town Council in 1935.