From 18 December 2024
Venice, Museo Correr, Picture Gallery

Restoration supported by Fondazione G.E. Ghirardi Onlus

The small panel painting of The Virgin and Child with the Infant St. John the Baptist and Six Female Saints was part of the fabulous collection left to the city by Teodoro Correr in 1830, the original core of today’s Musei Civici.

It was kept in storage at the Museo Correr in precarious conditions that restricted its visibility and display until the museum’s curator perceived the signs of some outstanding pictorial and compositional qualities in small areas less damaged by repainting and deterioration. This led to closer study, which included sophisticated diagnostic investigation techniques followed by restoration, generously supported by Fondazione G.E. Ghirardi Onlus.

photo Matteo de Fina

The fact that immediately emerged, truly exceptional and very intriguing, is that the work, of highly refined execution (its fine chiaroscuro has pure gold highlights, as in the most exquisite miniatures), clearly reveals the stylistic imprint of one of the greatest Italian painters of the Renaissance: Andrea Mantegna.

Above all, the same singular, wholly “female” sacred scene is almost identical to that of a painting now in the Isabella Stewart Gardner Museum in Boston (USA), painted in the closing years of the 15th century, attributed to the great painter and formerly in the Gonzagas’ famous Mantuan collections.

The Venetian conservators have already advanced interesting conjectures on the basis of X-ray studies. The outline of the drawing detected beneath the pigment coincides with that in the Boston painting, especially at some very precise points. Hence both paintings seem to have been made from the same perforated cartoon with the salient points of the drawing transferred to the two panels by pouncing.

This suggests that they were created in the same workshop within a short interval of time, if not at the same time. The artist appears to have created two almost identical paintings, with some slight but significant variations in detail and colour.

Another essential fact that emerged from analysis and restoration – heightening the mystery and fascination of the rediscovered painting – is that it is an unfinished work. After a very careful creative process, certainly lengthy and painstaking, for an unknown reason the painter ceased work on it when just one step away from completion.

But the mysteries and questions do not end here. Who was the man or, more likely, the woman (perhaps an illustrious lady of the Gonzaga family) who commissioned the painting? Why would he or she have required two identical paintings and for which recipients? And again: what journey did the now rediscovered painting make in reaching Venice? What hands did it pass through before reaching the insatiable collector Teodoro Correr in the late 18th or early 19th centuries?

The work, excellently recovered by restoration, will be on view at Museo Correr in Venice, after being exhibited for the first time at Villa Contarini – Fondazione G. E. Ghirardi in Piazzola sul Brenta (Mantegna’s birthplace).

The work will be on view from 18 December 2024, with the Museum’s hours and ticket.

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From 24 April to 15 October 2024

Venice, Museo Correr 
Museo Correr Library, Scuola Abate Zanetti Murano

Curated by Monica Viero

In 2024, the MUVE will continue its firmly established initiatives to promote the knowledge and practice of calligraphy among the general public. The traditional masterclasses organised by the Library of the Museo Correr will be accompanied by an exhibition of works mirroring the calligraphic cultures encountered by Marco Polo on his journey to China.

The event includes two calligraphy workshops of four days each held in October 2024 on the premises of the Scuola del Vetro Abate Zanetti in Murano, in collaboration with MUVE Academy.
They will include the presence of a teacher of Western calligraphy and teachers of Arabic, Chinese and Tibetan calligraphy. The workshops and exhibition will explore the origins of calligraphic art and the mutual exchanges between East and West.
The workshops will also enable participants to explore the origins and evolution of handwriting in Italy and Europe, with opportunities to admire and study at first hand precious ancient manuscripts, rare incunabula and extraordinary printed books kept in the Library of the Museo Correr.

Given the character of the location that hosts it, the course also makes it possible to study the technique of writing on glass. During the workshops we will experiment with the different techniques and the very concept of handwriting as a total gesture of the body and expression of the person, inherent in Eastern calligraphy and adopted by the Western world only in relatively recent times.

The exhibition at Museo Correr will be linked to the calligraphy course, which this year will offer a study in depth of the calligraphic cultures encountered by Marco Polo on his journey to the East. It will provide an opportunity to study handwriting as artistic expression and a vehicle of knowledge and messages capable of creating a dialogue and establishing an authentic bridge between different cultures.

On display are the works of six contemporary artists from China, Iran, Iraq, Armenia and Italy, as well as a series of ancient documents and manuscripts preserved by the Correr Museum Library in Arabic, Armenian, Chinese and Burmese languages, in a journey in which the Silk Road becomes the Way of Writing.

PROGRAMME

From 24 April to 15 October 2024
Museo Correr, Galleria dell’Ala Napoleonica
The way of writing. Seven hundred years of calligraphic art between East and West
Calligraphy exhibition
Find out more >>>

23 April 2024, 6 pm, during the exhibition opening
Museo Correr, Salone da ballo
Transcending borders
Performance of calligraphy by Mingjun Luo and Monica Dengo

October 5-6-7-8, 2024
Island of Murano, Scuola del Vetro Abate Zanetti
A Chinese perspective on the art of calligraphy
Masterclass by Wang Fei and Monica Dengo
Find out more >>>

October 11-12-13-14, 2024
Island of Murano, Scuola del Vetro Abate Zanetti
Writing: a thread linking to the future
Masterclass by Ewan Clayton and Monica Dengo
Find out more >>>

October 9, 2024, 11-12 am and 3-4 pm
Museo Correr, Galleria dell’Ala Napoleonica
Guided tour of the exhibition The Way of Writing. Seven hundred years of calligraphic art between East and West
*Reserved for participants in the masterclass

10 October 2024, 4.30-6.30 pm
Museo Correr, Salone da ballo
History of calligraphy in Europe and China
Lecture by Ewan Clayton
*Admission upon invitation until places are available

Discover the calligraphy courses >>>

Discover the exhibition THE WAY OF WRITING >>>

#MarcoPolo700

L'articolo Calligraphy events sembra essere il primo su Archivio Museo Correr.

From 14 to 15 September, 2023
Hours: 10.00 – 13.00 and 15.00 – 18.00
Venice, Museo Correr, Ballroom

Curated by Chiara Squarcina with Augusto Panini and Mauro Stocco
Organized by Ilaria Peruzzet, Monica Piscina

For the third year in a row, Fondazione Musei Civici di Venezia is proposing, on the occasion of the international glass festival The Venice Glass Week, a conference dedicated to an insight on one of the oldest and most significant production, that of pearls.

After the conferences titled “The history of glass beads” and “The bead collections of Italian museums”, in this current edition the collections of glass beads from international museums are the stars, with the presence of scholars and conservators from prestigious museum institutions coming from various countries of the world.

A unique opportunity to discover how these tiny and minuscule masterpieces have accompanied human history since the most remote times to the present, in different part of the world and cultural contexts and to investigate many aspects of their production.

PROGRAMME

Thursday, 14 September

Hours 10.00-13.00

h. 10.00 
Chiara Squarcina, Head of the Museum Activities Department, Fondazione Musei Civici di Venezia
Augusto Panini, Glass beads Expert and Historian
Opening remarks
–
Ermelinda Damiano, Presidente del Consiglio Comunale di Venezia
Paola Mar, Assessore al Patrimonio, Toponomastica, Università, Promozione del territorio del Comune di Venezia
Institutional greetings

h. 10.15
Marion Bertram, Museum für Vor- und Frühgeschichte, Staatliche Museen zu Berlin
The colourful world of glass beads in the collections of the Berlin Museum for Pre- and Early History

h. 11.00
Márcia De Castro, Musée Itinérant de la Perle Ancienne en France
Guy Maurette, Musée Itinérant de la Perle Ancienne en France
Le Musée Itinérant de la Perle Ancienne en France, c’est quoi?

h. 11.45
Comments by participants and discussion

–

Hours 15.00 – 18.00

h. 15.00
Petr Nový, Museum of Glass and Jewellery in Jablonec nad Nisou, Czech Republic
Glass Beads from Jablonec

h. 15.45
Javier Pinto Sanz, University of Valladolid, Spain 
The footprint of Mediterranean glass artisans in Pintia (Padilla de Duero, Valladolid, Spain): a masterpiece and a key collection to understand pre-Roman Iberia

h. 16.30
Marco Verità, Independent Scholar 
Sandro Zecchin, Independent Scholar
The rosetta beads: materials and technology

h. 17.15
Comments by participants and discussion

Friday, 15 September

Hours 10.00-13.00

h. 10.00
Opening remarks

h. 10.15
Katherine Larson, Corning Museum of Glass
Vincent Delmas, Corning Museum of Glass
From Venice to Ghana to Corning: The Alastair Lamb Collection of West African Beads at the Corning Museum of Glass, USA

h. 11.00
Nina Gostinski, Archaeological Museum, Zagreb
Ana Đukić, Archaeological Museum, Zagreb
Glass beads from the Archaeological Museum in Zagreb

h. 11.45
Ivana Angelini, Università di Padova
Elisabetta Malaman, Università di Padova
Nicola Albertin, CPSSAE – Centro Polesano di Studi Storici Archeologici ed Etnografici
Paolo Bellintani, CPSSAE – Centro Polesano di Studi Storici Archeologici ed Etnografici
A new project of study on Frattesina glass: materials, production technology and experimental reproductions

h. 12.30
Comments by participants and discussion

–

Hours 15.00 – 18.00

h. 15.00
Laurence Gros, Université de Paris 1 Panthéon-Sorbonne
Study of the XVIIIth century French imitation pearl made from Essence d’orient

h. 15.45
Alicia Rodero, Museo Arqueológico Nacional, Madrid
Las cuentas de pasta vitrea en las colecciones del Museo Arqueológico Nacional, MAN (Madrid, España)

h. 16.30
Comments by participants and discussion
Closing remarks

h. 17.30
Presentation of the proceedings of the conference “Perle 2.0. The bead collections of Italian museums”, Venice, 23-24 September 2022

During the whole conference, a translation service into Italian language will be available.

Entrance upon invitation

–

Under the patronage of:
Comitato Nazionale Italiano A.I.H.V.

L'articolo Study conference sembra essere il primo su Archivio Museo Correr.

From 18 November 2023 to 7 January 2024

The well-established MUVE initiatives to promote the knowledge and practice of calligraphy among the general public continue in 2023.
The costumary course, included this year among the activities of the MUVE Academy, will be accompanied by an exhibition of calligraphic works.

The course will be divided into two modules, which can also be attended separately, one dedicated to Oriental calligraphy, by the Japanese master calligrapher Kazuaki Tanahashi, and one to Western calligraphy, by the calligraphy artist Monica Dengo.
The courses and the related exhibition will focus on the investigation of the origins of art and on the mutual exchange relationships between East and West. During the classes students will experience the different writing techniques and the concept of handwriting as a total gesture of the body and expression of the person, inherent in Oriental calligraphy and adopted by the Western world only in quite recent times.

Visits to the book and manuscript collections of the Correr Museum Libraries, the Natural History Museum and the Palazzo Mocenigo Museum will also give the opportunity to learn more about the origin and evolution of writing by hand in Italy and in Europe thanks to the precious ancient manuscripts and historical archives preserved here.

In conjunction with the course, the calligraphic works of Kazuaki Tanahashi and Monica Dengo will be exhibited in the precious room of the Sala delle Quattro Porte, along the path of the Pinacoteca del Museo Correr. The exhibition will provide an opportunity for an approach to writing by hand as an artistic expression and a vehicle of knowledge and messages capable of creating a dialogue, and building an authentic cultural bridge, between East and West

PROGRAMME

18 November 2023 – 7 January 2024
Museo Correr, Sala delle Quattro Porte
East-West Calligraphy exhibition
Kazuaki Tanahashi and Monica Dengo
Find out more >

18 and 19 November 2023, h 10.30-16.30
Museum Correr, Library
Heart of the Brush
Art of writing in the East
Masterclass with Kazuaki Tanahashi
Find out more >

25 and 26 November 2023, h 10.30-16.30
Ca’ Pesaro – International Gallery of Modern Art
Mark Making for the Imagination
Art of writing in the West
Masterclass with Monica Dengo
Find out more >

22 November 2023, h 10.30-12.30
Natural History Museum of Venice Giancarlo Ligabue, Library
Visits to the collections

22 November 2023, h 14.30-16.30
Museum Correr, Library
Visits to the collections

24 November 2023, h 10.30-12.30
Palazzo Mocenigo Museum, Library
Visits to the collections

L'articolo Calligraphy events between East and West sembra essere il primo su Archivio Museo Correr.

MARK and INTUITION – The Correr Museum Library PLACE OF WELL-BEING

One day seminar to improve manual writing and to stimulate creativity

Seminar to improve manual writing

For more than 10 years the Correr Museum Library and the Civic Museums Foundation of Venice have been promoting manual writing seminars with Monica Dengo.

Traditionally the seminar lasts 3 to 7 days and is held in October. It is aimed at an audience of professionals and amateurs.

Saturday 14 December 2019 a one-day meeting is proposed, lead by Monica Dengo and Giovanni Dicran Megighian (Physician and professional coach) to give life to a process capable of creating art, personal growth, well-being, community building and culture. It is intended as an inclusive proposal, aimed at a wider public and with contemporary contents, in which the Correr Library becomes the special place to grow together.

Our society is integrating new awarenesses:

• gender and identity sensitivities, the feminine future and the recognition of new identity perceptions;
• scientific discoveries, the importance of the so-called subtle or non-cognitive abilities and the epigenetics of stress;
• individual and community growth, at all ages to respond to the evolution of demography – the prolongation of life and the ageing of the population – the need for health in young people, adults and the elderly; – the disorientation and the cultural and community isolation produced by information overload and technology constant evolution.

Handwriting supports a way of thinking that heals us from stress and from the disposition to depression so pervasive nowadays. Handwriting power is acknowledged by the scientific world and it needs to be spread throughout as a common good.
Such awareness may become a priceless resource into our reference communities, stimulating intuition and creativity in us and in those around us, on multiple and non-simultaneous dimensions:

• artistic and learning dimension, through the acquisition of a technique that makes writing by hand clear, understandable and fair;
• development and personal growth dimension, through the stimulation and expression of subtle qualities, in children and adults of all ages: presence, attention, will and character;
• wellness dimension, through the awareness that stress, chronic degenerative metabolic diseases and tendency to depression can be contrasted with the will and practice of meditation, of which manual writing is one of the ways;
• civic dimension, through the development of a community that recognises itself as *Civitas*, ie an entity of men and women who share both values ​​of doing and of being;
• cultural dimension, through stimulating the intuition of the future and discovering the solutions to transmit to future generations – or to those we will never know and who will never know our name – a happy existence on Earth.

The seminar takes place in the reading rooms of the Correr Museum Library and in the Museum exhibiting rooms from 10.30 am to 5.30 pm.

The number of participants is limited to 15.

The participation fee of Euro 74.00 includes:
– Monica Dengo’s book Scrivere a Mano, edition Ciac 2019
– guided tour to selected masterpieces of the Picture Gallery (Quadreria)
– the exclusive experience of browsing through selected handwritten and printed masterpieces from the Correr Library collection
– 20% special discount on any order at Museum Café.

PROGRAM

10.30 am – Meeting at Museo Correr Ticket Office. Access to Library. Distribution of material and beginning of the seminar.

1.00 pm – Lunch break at the Museum Café. A presentation of the Inspirational Sponsors of the project will follow (people, organisations, associations and economic activities that in a moral and ethical way approve and share the values ​​that inspire the initiative: the search for well-being and health through personal growth and intuition to be transmitted to future generations).

2.30 pm – Visit to the paintings of the Correr bequest (Quadreria)

3.15 pm – Special exhibit of some ancient books and manuscripts of the Correr Museum Library

4.00 pm – Seminar afternoon session begins

5.30 pm – End of the Seminar.

Reservations available online, selecting “Workshop in program” >

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5 September 2019, 12.00
Venezia, Museo Correr

Entry by invitation while places last

The Fondazione Musei Civici Venezia and the Duncan of Jordanstone College of Art & Design, University of Dundee (Scotland) are honoured to announce the launch of the publication EWVA | European Women’s Video Art in the 70s and 80s, that will take place on 5 September, at 12 AM at the Museo Correr, Venice.

The book will be introduced by Gabriella Belli, Director of Fondazione Musei Civici di Venezia and the editors Laura Leuzzi, Elaine Shemilt and Stephen Partridge, at the presence of the artists, curators, academics and journalists.
The volume, published by John Libbey Publishing, is the main output from the eponymous research project funded by the Arts and Humanities Research Council, led by Prof. Elaine Shemilt, that aims to bring under the spotlight the fundamental contribution of women artists to the development of video art in Europe.

Authors include: Jon Blackwood, Maeve Connolly, Cinzia Cremona, Sean Cubitt, Malcolm Dickson, Catherine Elwes, Slavko Kazunko, Marika Kumicz, Laura Leuzzi, Adam Lockhart, Stephen Partridge, Lorella Scacco, Elaine Shemilt, Emile Shemilt. The book is opened by an introduction by Laura Leuzzi, with a preface by Laura Mulvey and forward by Siegfried Zielinski.

Following the publication launch, there will be an exhibition preview at 18.30 in the Court of Casa di Carlo Goldoni of the accompanying touring exhibition Federica Marangoni and Elaine Shemilt. Parallel Dialogues Through Video and Time.

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The Fondazione Muve and Louis Vuitton have renewed their partnership on the occasion of the exhibition dedicated to Tintoretto, the realisation of which has been backed by the Maison.

Support for the exhibition started in 2017 with the restoration of two paintings by Jacopo Tintoretto, both entitled Portrait of two senators (1570). For a long time kept in the Correr’s storerooms, the works are identical in size and both show two senators in their traditional red ermine-hemmed gowns, depicted in their posts as magistrati or officials of the “Ufficio del sale”.

With the restoration financed by Louis Vuitton, the paintings (the property of the Gallerie dell’Accademia), return to public display in the rooms of the Museo Correr and are confirmed as autograph works by Tintoretto, matching those “singolari de’ senatori” portraits mentioned in the seventeenth century by Boschini as being works by Tintoretto in the Palazzo dei Camerlenghi.

With the most significant parts of the compositions being recovered, the paintings now reveal themselves as important examples of Tintoretto’s ‘state’ portraiture, a speciality developed by Jacopo himself and for a long time emulated by his son Domenico and his workshop. Also interesting are some other details that have emerged from both the preliminary investigations and the restoration itself, such as the overpainting of previously used canvases and their enlargement with recycled patches of canvas that have been carefully concealed by paint, as well as the confirmation of the cutting out and replacement of a head (the latter not being painted by Jacopo) – perhaps already during the ‘work in progress’ – as the result of one sitter being replaced in his post by a new nominee.

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The international festival dedicated to the art of glass returns with more than 180 different events including exhibitions, guided tours, conferences, workshops, performances and educational activities.

Comune di Venezia, Fondazione Musei Civici di Venezia, Fondazione Cini/LE STANZE DEL VETRO, Istituto Veneto and Consorzio Promovetro Murano present the second edition of the festival that from 9th to 16th September will involve all the main institutions in the city, with several new additions.

From 9 to 16 September 2018, more than 150 participants, with a total of over 180 events across Venice, Mestre and Murano, will take part in the second edition of The Venice Glass Week, the major international festival dedicated to the art of glass, conceived to celebrate the artistic and economic resource for which Venice is famous around the world.

The event is promoted by the Town Council of Venice and conceived by three of Venice’s principal cultural institutions with considerable experience and expertise in the field of glass – Fondazione Musei Civici di Venezia, Fondazione Giorgio Cini and Istituto Veneto di Scienze, Lettere ed Arti – along with the most important trade association, the Consorzio Promovetro Murano, which also manages the Vetro Artistico® Murano trademark of the Veneto Region.  This year’s edition has again attracted a large number of participants, with a 20% increase over the first year’s festival.

Hundreds of applications were originally submitted for review and selection by the curatorial committee that was introduced this year, chaired by the Venetian glass historian Rosa Barovier Mentasti, and including critics and curators Chiara Bertola and Jean Blanchaert, journalist and editor of the German magazine Neues Glas Uta Klotz, and chemist, university teacher and expert in the composition of glass materials Marco Verità. The high volume of applications, from foundations, art galleries, museums – among which we note the participation for the first time of the Peggy Guggenheim Collection, Palazzo Fortuny and Museo di Storia Naturale -, cultural institutions, universities and advanced education institutes, as well as glass furnaces, companies, artists and private Italian and foreign collectors, confirms the dynamism and vitality of Venice’s cultural scene, and provides a strong indication of the local and international interest in the field of glass.

The rich and expansive programme for The Venice Glass Week festival will involve varied and widespread events across the district, which this year also extends to the mainland, with Mestre now one of its main centres, along with Venice and Murano. The events, most with free entrance, will all have artistic glass as their main theme and be aimed at audiences of all ages: exhibitions, guided tours, conferences, seminars, prize-giving ceremonies, film screenings, educational activities, parties, drinks receptions, open studios and a non-competitive night-time race around the candle-lit streets, canals and glass-furnaces of Murano.

MUSEO CORRER’S PROGRAMME

Conference: The Corning Museum
Museo Correr
11th September 2018, 11am

The Director of the Corning Museum, Karol Wight, has been invited by the Director of Fondazione Musei Civici di Venezia, Gabriella Belli, to present an important organisation, which is active overseas in the documentation and preservation of the ancient art of glassmaking by hosting renowned Murano Glass Masters, who create artworks using the traditional techniques in a dedicated area.
The event aims in particular to illustrate the several decades of experience of this United States Museum and the effectiveness of its communication approach, aimed at telling the story of glass from its origins until today. Karol Wight will illustrate in detail the activities and the exhibition programme of the Corning Museum, with the aim of stressing the important role of this glass museum in the preservation and diffusion of such an ancient and precious form of art.
The conference will explore alternative possibilities for exhibiting glass, which are different compared with those implemented by the Museo del Vetro di Murano but likewise are based on a correct dissemination of an art which keeps a tight connection with the present and with contemporary creativity, without forgetting the past.

Discover Musei Civici di Venezia’s complete programme > 

For information and for discover general programme:

• www.theveniceglassweek.com
• info@theveniceglassweek.com

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The presentation will be marked by an exceptional event: a conversation on
the theme of painting with Jean Clair, chaired by Gabriella Belli, director of Fondazione dei Musei Civici di Venezia and scheduled for Thursday 22 June at 12 midday (Museo Correr, Ballroom).
The meeting will be accompanied by simultaneous French/Italian/ English translations.
The event is part of the third edition of MUVE Contemporaneo.

Entrance to invitation only

The Exhibition
ROGER DE MONTEBELLO. Portraits of Venice and Other Portraits >

L'articolo Event sembra essere il primo su Archivio Museo Correr.

Espace Louis Vuitton Venezia and Fondazione Musei Civici di Venezia (MUVE) renew their collaboration that every year, thanks to an accurate and passionate local sponsorship and cultural actions project, brings Louis Vuitton supporting the restoration of art works from the collections of the MUVE’s museums.

On the occasion of the exhibition “Fondation Louis Vuitton Building in Paris by Frank Gehry con l’intervento di Daniel Buren“, Louis Vuitton supported the restoration of a series of wooden architectural scale models from the 18^th Century: the models built for the study of a large Venetian palace probably Palazzo Corner della Regina) and the one of Palazzo Venier dei Leoni (incomplete) and a series of models of Villa Pisani at Strà.

The result of this important restoration work will be the protagonist of a small but significant exhibition from October 14^th to November 14^th 2016 at the Sala delle Quattro Porte [Four Doors Hall] within the Correr Museum itinerary in Piazza San Marco.

This location will exhibit all the restored models, forerunners of the modern maquettes and scale models, with the exception of the large model of the Doge’s Pisani villa project which, due to its size, will remain at Palazzo Fortuny where it can still be visited until November 6^th 2016.

The presentation of the restored wooden models echoes the exhibition hosted by the Espace Louis Vuitton Venezia, from May 27^th 2016 to February 26^th 2017. The exhibition showcases a selection of scale models tracing the study of the Fondation Louis Vuitton building’s different aspects: a true immersion into the creative and designing universe that allowed the origin of a building that has already become a symbol for Paris.

The eighteenth-century architectural scale models belonging to the Venetian Civic Museums collections are truly outstanding witnesses, among the few who have reached us, of the architecture observed between the Renaissance and the nineteenth century, especially for particularly complex and large buildings.

In such demanding works, the conclusion of which always required several years, the presence of a perfect scale model on-site, finished in every structural and decorative detail both inside and outside (for this reason they can always be disassembled and observed in every part, even more than the paper designs, were essential and very tangible reference for the vast array of operators called upon to contribute to the construction in a unified and organic manner (bricklayers, stonemasons, wood and iron carpenters, decorators, etc.).

For the realization of such amazing wooden artefacts, featuring a really ‘painstaking’ expertise and execution quality, one can presume the activity in Venice of some quite skilled craftsmen.

The conservative restoration, necessary to preserve the artefacts and allow optimal enjoyment, has affected the models of two great Venetian palaces, as well as that for the wonderful Villa dei Pisani at Strà, along with those of three smaller buildings for the famous garden. All of them are perfectly evocative of the successful Venetian architecture season in the eighteenth century that was able to translate the scenographic Baroque talent in an absolutely Venetian pictorial and luminous key, following the main example of Baldassarre Longhena,

The first model for a large building, surely destined to face the Grand Canal, is an advanced design proposal, remained unfulfilled, characterized by the unusual width of the front, with nine vertical axes. This may be a first project for Palazzo Corner della Regina in San Cassiano, then created in a different manner by Domenico Rossi on a narrower front. Incomplete (note, however, an astonishing Baroque staircase with multiple ramps), perhaps because of its fragmentary condition, the model has a particularly evocative charm.

Compared with the first project by Lorenzo Boschetti, it corresponds to a second version assigned to Domenico Rizzi, accurate as far as the vertical general approach in eleven aisles, but simplified in the architectural codes and in some layout solutions. It is the project realized around 1750; as known, the work was interrupted when the building had reached just above the mezzanine ground floor, only for the front part (it was the famous Peggy Guggenheim house-museum, today with its rich collections of modern art, headquarters to the Peggy Guggenheim foundation).

The model of  the Doge’s Villa Pisani at Strà on the Brenta Riviera, is extraordinarily interesting as it gives us the first ‘Pharaonic’ project entrusted to Francesco Frigimelica, exceptionally complex in its articulation and unusual scenic grandeur, worthy of a great ruler. The ‘palace’ was later erected on the more ‘sobre’ and linear project by Francesco Maria Preti. Instead, for the fantastic ‘French garden’, the original Frigimalica projects for the Belvedere, the Esedra and the Tower (respectively a high-arch belvedere at the intersection of various allées, a favourite side entrance to the garden and the central turret of the famous greenery maze) of which the beautiful painted wood models remain, have been accurately realised.

Building in Paris by Frank Gehry con l’intervento di Daniel Buren

The exhibition retrace the story of Frank Gehry’s dream, offering an immersion into the creative world of the Canadian-American architect and presents a selection of scale models created during the project by the Gehry Partners Studio.

The models are organised by groups to retrace studies for various aspects of the Fondation Louis Vuitton including the integration in the site, architectural programme, project design, interior spaces, the “icebergs” and the glass sails.

Initially unveiled in Paris for the inauguration of the Fondation Louis Vuitton, the exhibition has been specially redesigned by Gehry Partners for the Espace Louis Vuitton Venezia.

It is part of Fondation Louis Vuitton’s ‘Beyond the Walls’ programme of events. As well as presenting the building’s impressive architecture, screens in the exhibition in Venice projects the rich artistic programming at Fondation Louis Vuitton. This includes temporary exhibitions with a contemporary or historical perspective, presentations of the Fondation’s collection, as well as concerts in the Auditorium. 

As part of the exhibition, Daniel Buren has designed a special installation incorporating the glass roof of the Espace Louis Vuitton Venezia.  This echoes to the presentation of his temporary work, ‘Observatory of Light,’ which was unveiled at the Fondation Louis Vuitton in Paris on May 11^th 2016.

Fondazione Musei Civici di Venezia (MUVE)

The Civic Museum Foundation of Venice (MUVE) – Participation foundation with only one founder, the Venice City Hall – manages , promotes and enhances from September 2008, for its specific mission, the complex system of the Civic Museums of Venice, one of the most important in Europe: 11 museums with their rich collections (Palazzo Ducale, Correr Museum, Clock Tower, Ca ‘ Rezzonico – Museum of eighteenth Venetian Century, Museum of Palazzo Mocenigo – Study Centre of the History of Textiles and Clothing, Casa di Carlo Goldoni, Ca ‘ Pesaro – International Gallery of Modern Art , Palazzo Fortuny, Museum of Murano Glass, Burano’s Lace Museum and Natural History Museum), 5 specialized libraries, the photo archive and a furnished outdoor storage (Vega Stock).

An innovative reality in the area of Cultural Heritage in Italy.

Espace Louis Vuitton Venezia

Inaugurated in June 2013 with the aim of promoting a dialogue between contemporary art and the historic and artistic heritage of the Serenissima Repubblic, Espace Louis Vuitton Venezia has hosted six exhibitions to date.

Espace Louis Vuitton Venezia has established an innovative dialogue between the contemporary art scene and classical art, helping to celebrate the extraordinary vitality and modernity and returning works often forgotten to Venice in two ways: in the rediscovery, made possible by the restoration, that makes them once again accessible to the general public and in the re-interpretation provided by contemporary art.

The comparison between the art of yesterday and today started with the “Where Should Othello Go?” exhibition, which proposed the face-to-face between “The Death of Othello” (1866) by Pompeo Molmenti and the installation “Strawberry, Ecstasy, Green” by Tony Oursler (2013), revealing an explosion of unexpected and allied matches; it then continued with “Renaissance “, in which Vittore Carpaccio and Bill Viola explored the theme of the Nativity and the passion of Christ, and was followed by the romanticism of the Cayer de voyage by Mariano Fortuny and Jiro Taniguchi in “Sguardi incrociati a Venezia“.

In 2015, new dialogues and discussions have seen the Venice Espace hosting the references between “The optic views of the sixteenth century period and Olafur Eliasson“, the lunettes by Francesco Hayez and creations by Tilo Schulz, up to the last exhibition, that combined three worlds, the eighteenth century of Andrienne’s dress belonging to a Venetian lady and revived in a contemporary version by the students of the Experimental Centre of Cinematography in Rome under the supervision of Oscar winner Piero Tosi and of maestro Maurizio Millenotti and by the creation of contemporary artist Movana Chen.

From 2016, the Espace Louis Vuitton Venezia started a new course that see its spaces host the great contemporary art in programs created by Fondation Louis Vuitton for the Paris space and for the Espace Louis Vuitton in Tokyo, Munchen, Beijing and Venice.

Museo Correr

Museo Correr San Marco 52, 30124 Venezia
Open from March 26^th to October 31^st 10.00 am – 7.00 pm

Open from November 1^st to March 25^th 10.00 am – 5.00 pm

Museo Fortuny

Campo S. Beneto, 3780, 30126 San Marco, Venezia

Open from 10.00 am to 6.00 pm

Fondation Louis Vuitton Building in Paris by Frank Gehry exhibition

Espace Louis Vuitton Venezia, Calle del Ridotto 1353, 30124 Venice
From 27th May to February 26th: exhibition opened to the public

Open from 10.00am to 7.30pm, Monday to Saturday and on Sunday from 10.30am to 7.30 pm 

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Venice, 27-29 April 2016

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Wednesday 27 April 2016 3 p.m.
Scuola Grande di San Rocco
8 p.m.

Thursday 28 and Friday 29 April 2016 
Museo Correr, Salone da Ballo
10 a.m.-7 p.m. 

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Opening:
Wednesday 27 April 2016, 3 p.m.
(simultaneous interpreting provided)

For April 27, at the Scuola Grande di San Rocco, and for April 28 and 29 at the Museo Correr, entrance is by invitation, on a first come first served basis.

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The International Conference “From Darkness to Light: writers in Museums 1798-1898”, organized by the Venice Committee of the Dante Alighieri Society, with the Fondazione Musei Civici Veneziani, the Scuola Grande di San Rocco, and the Graduate School of the City University of New York, 27-29 April 2016, aims at comparing the experiences of writers and journalists in museums, galleries, churches, in Europe, in the United States and in Japan, when electric light was not yet used.

Both John Ruskin (from 1846) and Henry James (from 1869) repeatedly wrote on how dark the Scuola Grande di San Rocco was, even if they were both struck with the beauty and power  of Tintoretto’s paintings in the Scuola. The Scuola Grande di San Rocco was in fact only lit with natural light until as late as 1937, when Mariano Fortuny was asked to light it with the indirect illumination he had experimented in theatres.

If the date 1937 really seems late for electricity, other museums were much more avant-garde,  as for instance the Rembrandt Peale Museum in Baltimore, which had gaslight as early as 1816, while the Victoria & Albert Museum of London used gaslight in 1857.

These fascinating topics will be the focus of the Venetian Conference, during which international scholars will discuss the museums and the visitors’ reactions, which are very different form those of present day visitors, when the great masterpieces are lit in a much brighter and clearer light.

We will start with the Scuola Grande di San Rocco, now lit by LED, which shows how the experience of 19th century visitors was in fact quite different from today’s experience. We will continue with the gaslight introduced by the Peale family in their museum; with the ways a very famous and very popular painting, The Heart of the Andes by Frederic Church, was lit up in the various venues where it was shown; we will then examine the Yale gallery of “primitivi” collected by James Jackson Jarves, which nobody at the time really wanted.

We will then proceed to the choices of lighting for the Isabella Stewart Gardner Museum of Boston, for Sargent’s frescoes in the Boston Public Library, for the Freer Gallery of Washington, for Sir John Soane’s Museum in London (where even now candle-lit tours are organized), for the London National Gallery, the Wallace Collection and the English mansions of Chatsworth and Cragside, for the Prado in Madrid and the Musée Fabre in Montpellier.

As regards Italian museums, there will be papers on the Florence and Rome museums, from the Uffizi to the Musei Capitolini, as seen by American writers, on the Venice Museums as seen by French writers, in particular the Museo Correr, the Accademia di Belle Arti and the Ducal Palace in Venice.

Finally there will be a paper on the Japanese aesthetics of darkness.

Both literary scholars and art historians will participate: art historian Giovanni  C.F. Villa will speak onTintoretto; very well-known writer Melania G. Mazzucco, also the author of important books on Tintoretto, will tell us bout the “unexpected light” in Tintoretto’s paintings;  David Nye, one of the world light-experts,  will speak about the changes due to the different artificial lightings used in museums; Antonio Foscari, IUAV, will offer some thoughts on “time and light.”

It will be possible to experience the new LED lighting in the Scuola, thanks to Alberto Pasetti Bombardella, who will show how the different lights – warm and cold – allow visitors to see in totally new and unexpected ways Tintoretto’s works.

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17 ottobre 2014
Museo Correr, Venezia

This year end the three-year project NANOMATCH, a project funded by the European Union and part of the FP7 cycle.

The international network is composed by 14 partners (CNR, TECNALIA, TNO, CCP-LRMH, ISC, AIDICO, RED, NANOTEGO, BOFIMEX , HDK, OSC, ESC, TOP, DUCT) belonging to 7 different countries, including both public and private research centers and SMEs. The purpose of this project was the development of innovative high performances nano-structured products for the conservation and preservation of monuments, which we well know to be subject to the action of degradation of many natural agents (water, climate change, wind, soluble salts, micro-organisms) and air pollutants.

All these agents should be to alter, modify and degrade the surfaces and the constituent materials of the monuments, damaging irreversibly and putting at risk the future usability of historical manufacts. The project took into account three materials, ie stone, wood and glass, that form the basis of the architectural heritage, and started from the consideration that, although the mechanisms of alteration and degradation of such materials have been mostly understood, effective solutions are not currently available for a long-term preservation of the stoneand wood artifacts and historic stained glass.

The degradation factors that act on the historical materials are in fact deleterious to the same products currently used in the field of restoration, for example all the many organic polymers, that are particularly sensitive to the action of solar radiation (UV component), water and soluble salts, which reduce the conservative efficacy and cause difficulties in the subsequent removal step, whenever it’s required. To address the failure of most used conservation organic products, NANOMATCH project has worked on the development of a new class of highly competitive and performing products. Nano-suspensions of alkoxides of alkali and alkaline earth metals have been studied, synthesized in the laboratory and tested on a variety of substrates in order to verify the compatibility and performance. For this purpose, it has been employed the most advanced technologies and the most sophisticated tools/instruments (FEG-ESEM, NMR, ESI-MS, ICP, …) actually available in the market. Once the “lead compounds” have been selected, the project foresaw to move from a purely academic field into the “real” market.

Through the development of pilot plants, it has been produced batches of about 5 kg of alkoxides nano-suspension, subsequently tested “in field” in order to assess and verify the effectiveness and durability in “real” conditions. During the three years of the project, a considerable number of aspects were taken into account, moving from the development, the evaluation and the production of these compounds to the formulation (non-toxic solvents, maximum penetration/performances optimization), the evaluation of the performance of the products in the long term (two years of application), the evaluation of risk assessment and environmental impact (through the study of toxicity and the effect of nano particles) to the development of business plans related to entry in the market for those products and the writing of the guidelines for end-users. All results obtained in the frame of the NANOMATCH project will be finally presented on October 17th 2014 in the final conference, that will be held at Museo Correr in Venice, Italy

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The collecting activity of Teodoro Correr towards the end of the 18th century, at a time when the Serenissima was historically and politically on the wane, began the process that led to the basis for the extraordinary heritage in art and history of the Musei Civici di Venezia.

This is the true treasure of the city, which is rich in masterpieces and exceptional historical traces. The care, restoration and study that are daily invested in the Correr’s works lead to sometimes astonishing results. This project wishes to reveal to a wider public something of the results of this multidisciplinary, silent work that is often known only to specialists.

The storerooms have yielded many works that for long have been misunderstood or underestimated and which today have gained their rightful position thanks to study: paintings, sculptures, bronzes, ivories, enamels, majolica, miniatures, gems, furniture, revealed today in all their glory and appeal. Works of art and fine objects from Venice and from far further afield, brought together to evoke the ideals of a cultured collector in an aristocratic palazzo: a ‘treasure’ at last rediscovered.

Discover more about “Wunderkammer” >>>

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Curated by Andrea Bellieni

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Sissi’s myth is commemorated in Venice with the inauguration and the opening to the public of the rooms reserved to the Princess Sissi in the Imperial Apartments of the Royal Palace in Venice, in S. Mark’s Square, after a restauration of nine estraordinary spaces.

Princess Sissi sojourned for 38 days in the Imperial Apartments in the Royal Palace, in occasion of her first visit in Venice in 1856, the visit recalled in the fourth episode of the famous film by Ernst Marischka. Then, Elisabeth chose Venice to live after the death of her daughter Sofia, between October 1861 and May 1862.

The nine rooms now opened to the public, give back to light decorations by Giuseppe Borsato, ornamentations by Giovanni Rossi, golden stuccos. New tapestries have been collocated in the rooms, close to the original ones, expressly realized and donated by Rubelli – Venice. To recall the original atmosphere, precious fittings dated to the Napoleonic period and in Imperial style have been collocated in the Apartments.

Come back to life the Empress’ Audience Room and the Studio, the Empress’ bedroom with its delightful boudoir and the Antechamber. The Empress’s Bathroom is personalized by a decoration representing “The Goddess protecting the Arts“, with a face recalling the beautiful Empress. Also, of great impact for richness of decorations, tapestries and furnishings, the “public” spaces, as the Dining-room for week-day lunches, the Lombardy-Venetia Throne Room and the Oval Room.

These rooms in the Imperial Apartments, become property of the Italian Demanio from the 20s, were destinated to offices and abandoned for many years. Then they were reassigned to the Comune di Venezia and subject to a conservative intervention from the year 2000, concluded in 2012 with the opening to the public. These spaces will be part of the layout and collections of the Museo Correr.

This restauration of the Imperial Apartments, promoted and financed by the Comité Français pour la Sauvegarde de Venise, under the approval of the Direzione Regionale per i Beni Culturali e Paesaggistici del Veneto and the direction of the Soprintendenza per i Beni Architettonici e Paesaggistici di Venezia e Laguna. Fondazione Musei Civici di Venezia coordinated the project and financed part of the works, and will insert these rooms in the itinerary of visit in the Royal Palace.

The new itinerary is something inexpected and not to be missed, added to the already well-known itinerary in S. Mark’s Square, overlooking the Royal Gardens and S. Mark’s basin.

Restauration promoted and financed by:
Comité Français pour la Sauvegarde de Venise

Under the approval of:
Direzione Regionale dei Beni Architettonici e Paesaggistici del Veneto

Direction of the restauration:
Soprintendenza per i Beni Architettonici e Paesaggistici di Venezia e Laguna

With the coordination and the contribution of:
Fondazione Musei Civici di Venezia

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