Bessarion’s Book In Defense of Plato
Among the Papers of the Last Byzantine Philosopher

Venice, Museo Correr
23 August – 31 October 2022

Curated by Sergei Mariev

In collaboration with Biblioteca Nazionale Marciana and Johannes Gutenberg Universität Mainz
In occasion of the 24th International Congress of Byzantine Studies

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This exhibition, curated by Sergei Mariev, who is working towards the completion of a new critical edition of Bessarion’s In Calumniatorem Platonis, guides the visitor through the different stages of Bessarion’s work on this treatise by arranging and displaying the manuscripts preserved in the Biblioteca Marciana in a sequence that reflects Bessarion’s progress in composing this book. The exhibition aims to make visible the cultural links between Byzantium, with its rich cultural and especially philosophical traditions, and the world of the Italian Renaissance.

The exhibition is part of the events to tie with the 24th International Congress of Byzantine Studies (Venice-Padua, 22-27 August 2022), realized with generous financial support from the Heisenberg Programme of the DFG (German Research Association) and in close cooperation with Johannes-Gutenberg-Universität Mainz and WissenschaftsCampus Mainz, as well as the Museo Correr, Biblioteca Nazionale Marciana, Associazione Italiana di Studi Bizantini (AISB) and International Association of Byzantine Studies (AIEB).

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Entrance during Museum’s opening hours and with Museum’s tickets

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

From 23 April to 6 November 2022
Venice, Museo Correr
Sala delle Quattro Porte

Curated by Hervé Mikaeloff and Amin Jaffer

Scientific direction Gabriella Belli

As part of the “MUVE Contemporaneo 2022” project, Museo Correr will host Huong Dodinh’s first time in Italy exhibition, Ascension. The artist’s work will be displayed in the “Sala delle Quattro Porte” (The Room of Four Doors).

Born in Vietnam and Parisian by adoption, Huong DODINH was a student at the Ecole des Beaux-Arts in Paris during May 1968 social unrest. She spent the next five decades isolating herself from the outside world, developing a unique, pure, vibrant, spiritual, and universal body of work, but she never attempted to share it publicly.
The first major exhibition dedicated to Huong DODINH was held at the Musée national des arts asiatiques – Guimet, Paris, in 2021, debuting alongside a solo show at the art fair Asia Now.

With her work she questions the concepts of light and line. The composition of the line is centered around the construction of her art. The relief often present in her artwork allows her to give a direction to the light. Through her unique technique, layering of multiple coats of paint and artistic geometry, she gives her canvases a singular depth and a density that reveals her works’ evanescent brightness.

Ascension is a site specific work. The artist conceived and designed a series of works specifically created for the event. The art installation is composed of fourteen paintings, each 3 meters high, placed in order to recreate a triangle that surrounds the wooden sculpture of the Madonna della Misericordia, a wood sculpture from the XV century. The artist invites the audience into the heart of fourteen elongated and tapered panels on display, taking the form of a candle which leads to a mystical atmosphere hovering in the Room of Four Doors.

For the last eight years the “Sala delle Quattro Porte” has only hosted exhibitions of important female artists, like Jenny Holzer, with the work “War Paintings”, and Shirin Neshat, with the work “The Home of My Eyes”. Such as in this case, with Huong Dodinh exhibition, the connection created between the room and the works of art has always turned out as new and inspiring dialogue. Also in this case female artistic research is a source of novelty and of an innovative meditation on what is happening.

Exhibition organized by CMS Collection

With the collaboration of Fondazione Musei Civici di Venezia

Con il supporto di Pace Gallery

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Four hundred years after the birth of Francesco Morosini, dubbed “the Peloponnesiacus” (1619-1694), several Venetian institutions are celebrating this fascinating figure, a doge and admiral.
Museo Correr is the major venue since it preserves Morosini’s entire historical heritage from his palace in Campo Santo Stefano, inherited in 1895 by the last heir.

The collection includes memorabilia, documents and works of art that reveal particular aspects of Morosini’s life and his historical significance.
Personal objects, books, portolans, globes and relics of classical Greek art record his character and interests. Military documents, model ships and fortresses, trophies and weapons seized from the Ottomans all depict the man of war and his exploits, especially the conquest of the Peloponnese (1683-1688). Portraits, coins, medals and commendatory publications evoke the mythical aura that even while he was still alive surrounded the admiral-doge, the last Venetian hero.

On his death as doge in battle, the lengthy posthumous commemorations were entrusted to architect Antonio Gaspari’s unrealised monumental projects and to displays such as the one staged in the family home, now recreated in the permanent installation at the Correr. This exhibition devoted to the epic figure of Morosini evokes the Serenissima’s illusory return to glory as a military and maritime power in the Mediterranean.

On the occasion of the celebrations for the 400th anniversary of the birth of Francesco Morosini

Scientific direction Gabriella Belli

Scientific project and exhibition coordination Andrea Bellieni, Valeria Cafà, Cristina Crisafulli, Camillo Tonini, Monica Viero
with Paolo Delorenzi, Massimo Favilla, Gianfranco Munerotto, Gabriele Paglia, Ruggero Rugolo

With the support of FONDAZIONE DI VENEZIA

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CHIARA DYNYS
Sabra Beauty Everywhere

9 May 2019 – 12 January 2020
Venezia, Museo Correr

From VAF-Stiftung collection
Curated by Gabriella Belli

Chiara Dynys is a multifaceted artist who creates conceptual experiences as well as painting/sculpture, an interesting “case” within Italian contemporary art who has produced a considerable quantity of performance art and other work that is strongly committed to current social and anthropological themes.

After exhibitions dedicated to two internationally renowned artists, American Jenny Holzer and Iranian Shirin Neshat, it is the turn of Italian Chiara Dynys to bring her vision to the Sala delle Quattro Porte with a project which, like the work of Holzer and Neshat, addresses important social issues.

Her new project, entitled Sabra Beauty Everywhere, was created in 2012 in the refugee camps of Sabra and Shatila in Lebanon. The theme is childhood games, played by children who are living in these ghettos of fear and isolation, yet who – despite everything – still manage to be children, behaving with an apparent disarming normality. Encased in precious ‘tabernacles’, the images of lacerated childhood bear witness to the commitment and role of Fondazione Musei Civici di Venezia in examining the emerging problems of social coexistence.

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

Retracing the evolution of her work over the past two decades, Unique Objects will bring together over 80 pieces, including a significant number of previously unseen works. The exhibition will run from 26th May to 24th June 2018.

The creations of Ira von Fürstenberg reimagine everyday items as objects of considerable beauty and intrigue, transporting us to a dreamlike world in which artistic styles and eras curiously collide. Through her pieces, antiquity encounters 20th century artistic styles in objects such as centrepieces, frames, candlesticks and religious items.

At the core of Ira von Fürstenberg’s work is skilled craftsmanship, combining raw materials collected on her travels, such as rock crystal, porphyry, malachite, coral, jade, bronze, or rare wood.

Central to this exhibition are numerous works made of porphyry, a dense Egyptian stone of striking purple, used in sculpture from the Antique to the Neo-Classicist as a symbol of imperial power. Working with this particularly resistant magmatic rock, von Furstenberg demonstrates her commitment to creativity and technical finesse.

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From 1 to 30 September 2018
Venice, Biblioteca Nazionale Marciana

This exhibition documents the impact of the printing revolution on the economic and social development of early modern Europe. A journey of discovery which uses digital tools and innovative methods of communication to present in an accessible way tens of thousands of data collected by a large international networ – coordinated by the project 15cBOOKTRADE at the University of Oxford – over the course of years of rigorous research. The exhibition highlights how, already by the year 1500, millions of books circulated in Europe, not only for the elite, as often claimed, but for everyone, including a large production of schoolbooks. In those first decades printing coincided with experimentation and enterprise.
Printed books were the product of a new collaboration between various sectors of society:
knowledge, technology, and commerce, with ideas spreading widely and quickly as never before.
We are now able to trace their dissemination by following the movement and use of the books themselves. The Church immediately understood the invention’s enormous potential and became its early promoter. The printing evolution is one of the cornerstones of European identity because it stands for wide-spread literacy, the pursuit of knowledge, and the formation of a shared cultural heritage. Curated by Cristina Dondi (Lincoln College, Oxford), director of the project funded by the European Research Council, the exhibition encourages reflection on interdisciplinary and international collaboration (humanities and technology, universities and cultural heritage institutions), on the impact of ERC projects on society, and on the role of Oxford’s international research in Europe and the world.

Every Saturday the Tipoteca Italiana Fondazione will be present at the Correr Museum to illustrate and involve visitors in the printing activity with some printing original tools.

In collaboration with
Consiglio Europeo della Ricerca Università di Oxford

Curated by Cristina Dondi and 15cBOOKTRADE Team

To tie in with the exhibition from 19 to 21 September 2018 will be held the conference Printing Revolution and Society 1450-1500 – Fifty Years that Changed Europe.
More info >

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

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In the Napoleonic Halls of what was once the Royal Palace and is now Museo Correr, a new donation will go on show of a group of miniature portraits from the first half of the nineteenth century, mostly Italian but including some French and English, together with various artefacts of Napoleonic interest.

The miniatures show us the faces of men and women vividly captured by the refined art of the miniature, a specialisation that was much sought after and appreciated in the nineteenth century, producing exceptional artists, some of them renowned. Today, many of these faces are anonymous, whereas others belong to wellknown personalities or figures from the Napoleonic age, including the emperor himself.

In Europe and beyond, both during the Empire and after its fall, the epic story and myth of the period inspired a true “Napoleon-mania” that was translated into the most varied objects. The idea of rediscovering and preserving even a few evocative fragments of that crucial moment inspired the collection of Veronese Paola Sancassani – Venetian by choice and a great lover of history – now generously donated to Venice Civic Museums.

Waiting to be discovered at the Correr Museum are fascinating miniature portraits of Napoleon, his relatives, the generals and anonymous contemporaries, the delightful perfume bottle in gold and enamels that was a love token from Horatio Nelson to Lady Hamilton, paintings and prints of battles and commemorative medals and coins, all of which narrate the history of a short and contradictory age that nevertheless marked a decisive turning point in modern history.

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Extended until October 1st 2017

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Scientific direction Gabriella Belli
Curated by Jean Clair

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From 1992, Roger de Montebello has chosen Venice as the location inspiring his works, and as the ideal location for his studio. The exhibition, part of Museo Correr’s exhibition programme, comprises 389 works, in three major groups of works from the artist’s oeuvre: a selection of spontaneous portraits, a series of views of Venice, and a cycle of works dedicated to the Spanish bullfight.
The theme shared by all of Roger de Montebello’s works is the constant translation of reality, captured from the real world, into a metaphysical dimension in which the artist’s language is placed between dreamlike abstraction and faithful depiction. In his works, painting takes pride of place, developing an existential exploration that adopts the form of seriality.

The exhibition illustrates the work performed by the artist on three major themes, within which he has developed some unusual motifs. 
In the artist’s work, the exhibition’s curator Jean Clair has identified an approach based on the repeated study of evanescent elements, the  fundamental feature of his pictorial methodology. In this way he creates a connection between the three thematic areas present in the show, such as the expression of a face, the fleeting glints of light reflected onto buildings in Venice, and the dynamic energy of the Spanish bullfight.

Roger de Montebello as a personality resembles that of a romantic painter who explores the world using painting en plein air, assisted by a “mobile studio” prototype structure reduced to the dimensions of a wooden box. 
This tool becomes fundamental for the depiction of the traditional Spanish bullfight, fixing the action and the bright colours into small-format paintings.

Jean Clair proposes a Venetian interpretation of combat in the bullring, with reference to the “bull-hunting” ritual, an important part of the Venice carnival until about 1800.
The same technique of pictorial spontaneity can be found in the series dedicated to portraits of friends and acquaintances, which reveal the artist’s versatility in mastering the depiction of personality, with the sitters’ soul emerging from their facial expressions.

The canvases dedicated to views of Venice are in large format, and depict distinctive locations in the city’s physiognomy, with a slow, profound language, hallmarked by repetition, with a meditative, oneiric language suspended within bright, light-filled atmospheres.

Jean Clair, the exhibition’s curator, says, “The dream in stone evoked by Baudelaire to express beauty is expressed and revealed in these paintings, in its elemental dimension: a marble surface, calcite, a crystalline mineral which, through some hidden property, grows like a crystal, with edges, faces and reflections.” He thus invites observers to lose their sense of direction within the labyrinth of the artist’s imagination.

The exhibition is accompanied by a special publication, taking the form of an artist’s portfolio, with colour plates, and texts by Gabriella Belli and Jean Clair. It helps to understand Roger de Montebello’s artistic approach.

BIOGRAPHY

The French-American painter Roger de Montebello was born in Paris in 1964, in a family with notable artistic affinities. After having learnt the foundations of drawing and painting at the Facultad de Bellas Artes, Seville (1984-1985), he continued his artistic education (painting, the history and philosophy of art) at the University of Harvard, where he obtained a degree (Bachelor of Arts) in 1988.
He had his first exhibition of paintings in 1992, in Paris. In the same year he opened his first studio in Venice, the city where he lives and works still today. In 2011 he took part in the Venice Biennale d’Arte, with an exhibition titled Montebello-Megachromia. After many solo shows, mostly in Paris and London, this exhibition at Museo Correr is his first solo show in an Italian museum institution.

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The Home of My Eyes exhibition at the Museo Correr will feature recent works by Iranian artist and filmmaker Shirin Neshat, including a selection of photographs from The Home of My Eyes series (2015), and her new video Roja (2016). These works represent a shift in Neshat’s practice, as they depart from works that focus primarily on her own Iranian society and instead reflect on other cultures.

Portraying the diverse people of Azerbaijan, Neshat’s The Home of My Eyes series comprises 55 photographic portraits inscribed with ink. The artist conceived of the series as “a portrait of a country that for so long has been a crossroads of many different ethnicities, religions, and languages.” Only separated from Iran in the first half of the 19th century, Azerbaijan especially resonated with Neshat, as it shares much of the same history, religion, ethnicity, and culture with her native country.

In the series, Neshat captures the individual character of her subjects in frontal, close-up portraits. While the subjects range in age and ethnicity, Neshat unites them formally by staging them in similar clothing and poses, against a dark background. Their specific hand gestures reference Christian religious paintings, most notably those of El Greco.  The series additionally explores the subjects’ individual voices. During production, Neshat spoke with them about their perspectives on cultural identity and the concept of home. Neshat then composed texts, which are calligraphically inscribed across the portraits, from both the sitters’ responses to the notion of homeland, and from poems by Nizami Ganjavi, a 12th century Iranian poet who lived in what is present-day Azerbaijan.

While in The Home of My Eyes, Neshat examines a culture quite close to her own, in the video Roja, she reflects on her own experience of living in the foreign culture of the United States. Roja, based on Neshat’s personal dreams and memories, traces an Iranian woman’s nostalgia for her homeland. The protagonist is simultaneously pulled towards and pushed away from both her original and adopted homes. Employing a surrealist lens and nonlinear narrative, Roja captures feelings of displacement, blurred lines between reality and fiction, and tensions between the past and present.

Shirin Neshat, born in the provincial capital of Qazvin in 1957, lives in New York. Her early photographic work includes the Women of Allah series (1993-1997), which explores the question of gender in relation to Islamic fundamentalism and militancy. Her more recent photographic series include The Book of Kings (2012) and Our House Is on Fire (2013). Each series could be seen as an allegorical representation of a country and as a group of humans unfolding in history, whether as heroes or as wounded people who survived a collective trauma. The Home of My Eyes (2015) was commissioned by the YARAT Art Center in Baku. In 2009, Neshat directed her first feature-length film, Women Without Men, which received the Silver Lion Award for Best Director during the 66th Venice International Film Festival. She is currently completing on her second feature-length film, Looking for Oum Kulthum (2017).

As a collateral event of the 57th International Exhibition La Biennale di Venezia, the Museo Correr will present 26 of Neshat’s portraits from The Home of My Eyes, together with Roja, at the Sala di Quattro Porte on the third floor, within the collection at the Piazza San Marco.

The Written Art Foundation and the Art of Writing Collection are grateful to Shirin Neshat for her extraordinary achievement to exhibit these works. The Written Art Foundation in Frankfurt am Main, Germany was founded in 2011 to foster the art of writing through exhibitions, symposia and publications. It supports artists whose work allows cultures and values different from ours to inspire and to educate us, thus promoting a peaceful exchange and the idea of world citizenship.

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Curated by Thomas Kellein

A Written Art Foundation Project

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

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On display at Museo Correr is an outstanding nucleus of 110 highly refined drawings from one of the most important private French collections: the Louis-Antoine and Véronique Prat Collection, which includes all the great masters from the seventeenth to the nineteenth century, from Poussin and Callot to Seurat and Cézanne.

After the great exhibition “The Poetry of Light” (December 2014 – March 2015), which presented a selection of extraordinary Venetian drawings from the Washington National Gallery collections, once again Museo Correr is proud to present more great masterpieces on paper.

Started over forty years ago, without a doubt the Prat Collection is one of the most important private European collections of ancient drawings. The underlying aim is to illustrate the development of French drawing over a period of time that spans more than three centuries, from Poussin to Cézanne, with a selection of around 230 sheets, 110 of which are on display in the exhibition.

From the perspective of art history studies, drawing is thus confirmed as one of the highest expressions that an artist can leave behind as testimony of his work.

Clear, incisive, full of detail or, vice versa, rapid, impulsive and without inspection or second thoughts, it is the artist’s most intimate ‘diary’, which, thanks to the freedom allowed by this technique, offers the most authentic moods of its creative inspiration owing to its immediacy.

The exhibition was prepared with the collaboration of Fondation Bemberg of Tolosa, the support of Alliance Française-Venezia and curated by Pierre Rosenberg, former director of the Louvre and the greatest expert in the field of French drawings of that period. It will first be presented at Museo Correr in Venice before travelling to Fondation Bemberg in Toulouse. It is testimony to the vitality of the collection that, in recent years has been enriched with around twenty pieces, on display here for the first time.

The exhibition is accompanied by an extensive catalogue edited by Magonza (Arezzo, 2017), edited by Pierre Rosenberg, with essays by Gabriella Belli, Philippe Cros, Louis-Antoine Prat and Pierre Rosenberg.

Find out more 

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Curated by Pierre Rosenberg
Show co-organised by Fondation Bemberg, Toulouse
and with the support of Alliance Française, Venice

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Caffi, born in Belluno but Venetian by choice, was an extraordinary painter and reporter, a restless observer of society and a convinced patriot. 150 years ago (almost a sign of fate!) the Veneto and Venice were annexed to Italy. Venice was the city that Caffi loved most, whose freedom he fought for and whose spectacular beauty he translated into painting, employing a capacity for synthesis unequalled during the entire nineteenth century.

Now, to commemorate the coincidence of this double anniversary, the complete, impressive collection of his paintings, the property of the Venice Civic Museums Foundation, is to be shown after fifty years, in a major exhibition that is a tribute to the artist. Caffi was the most modern and original landscape artist of his time: his lightfilled paintings are unsurpassed in immortalising the soul of the places and peoples he encountered during his many trips throughout Italy, Europe and the Mediterranean basin.

The collection on show is a virtually unexplored and extraordinary treasure in every respect. It consists of a group of more than 150 paintings that Caffi’s widow, Virginia Missana, donated to the city in 1889, together with many loose drawings and twenty-three albums. For this exhibition, Caffi’s paintings, normally conserved in the Ca’ Pesaro depositories, will be accompanied by their first catalogue raisonné, published by Marsilio.

The collection is a chronicle of all the various cities and regions visited by Caffi, and represents the most comprehensive record of the artistic career of any nineteenth-century painter. Caffi’s restlessness and desire for knowledge made him a tireless traveller, and whether he visited places from personal choice, such as the Near East, but also Rome and Naples, or whether they were destinations he was obliged to visit out of patriotic militancy, he has left us a vibrant and unprecedented artistic record of his day, whose absolute uniqueness is now evident.

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The “A Masterpiece for Venice” project opens the celebrations of the 500th anniversary of the death of Giovanni Bellini (Venice c. 1430–1516) at Museo Correr, where L’ebbrezza di Noè (The Drunkenness of Noah) – one of the greatest masterpieces of this great protagonist of the Italian Renaissance – will be shown from 5 March to 18 June 2016. This event has been planned under the direction of Pierre Rosenberg, in collaboration with the Alliance française, and with the invaluable partnership of Musée des Beaux-Arts et d’Archéologie di Besançon, which has housed this painting in its collections since 1895.

The work, which was probably Bellini’s last, was painted in 1515, and was attributed to him definitely over the course of the 20th century after four centuries of discussion. One of Bellini’s most representative paintings is now returning to Venice. The artist, who was defined by Dürer in 1506 as «very old, but still the best painter of all», took on new themes in a series of paintings that included the Drunkenness of Noah, which is the only one inspired by the Old Testament.

Based on Genesis (9.18-27), the theme evokes the episode in which Noah, drunk after tasting the wine from his vineyards, has fallen asleep naked. His son Ham discovers him dozing, laughs at the sight of what the Greeks called the “shameful parts” and informs his brothers, who then want to hide their old father. For their insolent derision, Noah curses Ham and descendants (Canaan) condemning them to slavery.

This family drama is interpreted as the reinstatement of a hierarchical order among the survivors of the purifying flood, the cause of and justification for inequality among the descendants of the three sons. The painting can be considered a sort of “visual testament” of the old painter who, having abandoned the 15th century style, bravely anticipated that of the 16th century. He clearly embraced the new innovative genre and, particularly, the deep poetics of his student Giorgione, who had died young in 1510.

In fact, the psychological expression of the three brothers around the figure of Noah, created by the freeness of the brushstrokes and the artist’s vibrant touch, give this painting the “atmospheric” quality uncommon until now. Bellini shows he had assimilated Giorgione’s revolution even if at the end of his long and brilliant career. He was also still capable of inventing a new iconography on a rare theme in the history of painting.

To celebrate the 500th anniversary of the death of Giovanni Bellini, the city of Venice has planned a project that, with the Fondazione Musei Civici of Venice, will involve several organisations during the year: the Municipality of Venice, the Giorgio Cini Foundation, the Veneto Polo Museale, the Accademia Galleries, the Ufficio Promozione Beni Culturali of the Patriarchate of Venice, the BAPPSE Office of Venice and its Lagoon, and of Verona, Rovigo, and Vicenza, the Querini Stampalia Foundation, the Sovereign Order of Malta, in a series of events that envisages itineraries throughout the city and in several churches, a convention, two conferences at the Correr Museum, and other exhibitions. “A Masterpiece for Venice” will see the return to Venice of several masterpieces of 15th – 18th century Venetian art, which are housed in foreign museums and are therefore little known by the Italian public. Special thanks to: Consorzio Tutela Conegliano Valdobbiadene Prosecco Superiore.

In collaboration with:

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