Venice – Dorsoduro

Venice – Dorsoduro

One of the most beautiful examples of the architecture of such public buildings, as well as private accommodation in Venice can be found in the DORSODURO sestiere, which results, among others. from the stability of the shores of this district (dorsoduro means "hard back"). Main attractions, Ca’Rezzonico, Accademia i Salute, are located in the coastal strip, beyond which few tourists go. Because this sestiere has an extremely intricate border, for the sake of simplicity, we treated the line Canal Grande - Rio di Ca'Fóscari - Rio Nuovo as the border of Dorsoduro.

Accademy's Gallery

Wt.-sb. 9.00-14.00, nd. 9.00-13.00;

Galleria dell'Accademia is one of the best specialized collections of European art, a contains a chronologically arranged collection of Venetian paintings from the fourteenth to the eighteenth century. Initially, after the founding of the museum in the year 1807, Here, paintings from the then liquidated churches and monasteries were collected, and the gallery itself is located in two, also once belonging to the church, buildings: the church of Santa Maria della Carita rebuilt by Bartolomeo Bon in the 1540s and started by Palladia in 1561, but the unfinished Convento dei Canonici Lateranensi (Monastery of the Lateran Canons).

EARLY RENAISSANCE

The gallery consists of many rooms, which follow one another in a counterclockwise direction. Scuoli members met in the first room upstairs in the 15th century, and now there are paintings of the oldest Venetian painters known by name. The most fascinating of them are the works of Paolo Veneziano from the first half of the 19th century. XIV century and his successors, Lorenzo Veneziano, but it is also worth looking at Jacobcllo Alberegno's Polyptic of the Apocalypse, on which the wrathful God of the Old Testament is found, a seven-headed beast and a lamb with many eyes.

Room no 2 houses works from the end of the 15th and beginning of the. XVI century, m.in. large altar paintings, which, although the scenes depicted in them are not peaceful, they incline to contemplation. Out of the ordinary, the gloomy canvases of Carpaccio, Crucifixion and glorification of ten thousand martyrs from Mount Ararat and Presentation of Jesus in the temple, works by Giovanni Bcllini and Cim da Conegliano accompany.

In the early Renaissance paintings in the western room there is a treatment of color characteristic of Venetian painting, but this painting cannot be compared with the excellent small paintings in rooms no 4 i 5, which are one of the focal points of the gallery. In addition to Saint George Mantegna and the Madonnas series by Giovanni Bellini, this section contains one of the most intriguing Italian paintings, I storm Giorgione (1500). However, the glass that protects the image reflects light and it is difficult to see it accurately.

RENAISSANCE FLOWERING

In room no 6 one of the main figures of Venetian painting appears, Jacopo Robusti zwany Tintoretto. Jego Madonna dei Camerlenghi (1566) has a rich color, velvet robe, and human figures have facial features, which can be seen in Venice until today. Another famous name in this room is Tycjan (Tiziano Vecellio), but his picture, John the Baptist, is placed here (early. the forties of the sixteenth century) it's not particularly interesting. One of the most noteworthy canvases in the gallery, A honey man in his office by Lorenzo Lotto (1528), is located in room no 7.

Room no 10 is dedicated to epic paintings. One whole wall is taken up by Paolo Veronese's A Feast in the House of Levi (originally called the Last Supper), which caused strong opposition from the court of the apostolic see. Local officials said, that as for a painting with a religious theme, it was too daring. They asked: “Why is Germany in the picture?, jesters and things like that? Doesn't it seem to you, that dwarfs, drinker, Germany, clowns and such improprieties do not fit our Lord's Last Supper?“Veronese rejected the criticism and reacted to it by changing only the title of the work, which, of course, settled the dispute on the spot. There are also three canvases by Tintoretto in the room, which depict scenes from the legend of Saint Mark: Saint Mark frees a slave (1548; it is this work that the artist owes fame), Body theft and in. Mark and St.. Mark saves Saracen's life (both from the 1660s). In all these pictures you can see, how much the artist loved all forms of strength and drama, from the physical or psychological drama of the presented scenes, emphasized by figures in twisted poses, after accumulating in brush strokes, in the perception of color and in the use of chiaroscuro energy. Opposite them is emotionally saturated, late painting by Titian Piet (seventies of the sixteenth century), which was originally supposed to be on his grave in Frari Church.

18TH CENTURY

Room no 11 contains a number of works by the greatest 18th-century Venetian painter Giambattista Tiepolo, including two fragments of a painting saved from the ruins of the Scalzi church bombed by the Austrians (1743-45) and a sketch of a painting formerly adorning the same vault entitled. Transfer of the house of Our Lady to Loreto (1743).

Collection of XVII- and eighteenth-century canvases is not very interesting, and only the portraits of Rosalby Carriery and the interiors of Floor Longhi in the hall stand out 17. Carrier's work was popularized by the use of pastel colors. Typical of her is the touching Self-Portrait in Old Age (the forties of the 18th century), which she did shortly before she lost her sight. Longhi, on the other hand, is not one of the Accademia's most outstanding painters, but the scenes he painted illustrate well the life of 18th-century Venice (his other paintings, including the famous Rhino Show, are located in Ca'Rezzonico).

V1VARINI FAMILY, BELL1NII CARPACCIO BROTHERS In the rooms around the corner and to the right, further works from the 15th and early. XVI century. There are a lot of pictures here painted by members of the Vivarini family, One of them is Vivarini's Santa Chiara Alvise. This department also has four triptychs made by Giovanni Bellini and his assistants for the local church in the 1660s.. Remarkable work by his brother Gentile, Blessed Lorenzo Giustinian, is one of the oldest Venetian paintings, which have survived to our times and one of the earliest signed works by Bellini. It doesn't look good, for it is said to be carried constantly in processions.

In room no 20 (down the corridor to the left) a wonderful series of approx. year 1500 dthe School of St. John the Evangelist obrazów, which mainly illustrate the miracles associated with the relics of St.. Cross. They are all rich in fascinating historical details, but three of them, Healing the madman Carpaccio and Extracting the relics from the bottom of the Canale di San Lorenzo and Procession with the relic around St.. Bellini's Gentile brand definitely stands out.

In the next room there is a series of paintings by Carpaccia Historia St.. Ursula, which were commissioned by the Scuola di Sant'Orsola in San Zanipolo (1490-94). This set of paintings restored in the mid-1980s is one of the most interesting in Italy. According to legend, the British prince Hereus proposed to the Breton princess Ursula. She agreed to the marriage under two conditions: Hereus was to convert to Christianity and wait for it for three years, until he returns from the pilgrimage, and then set off for the Holy Land in company 11 000 virgins. In the vicinity of Cologne, however, the Huns slaughtered the pilgrims, which Ursula had been warned about in her dream.

Finally, in room no 24 (former Scuoli living room) a painting by Titian is on display. Mary's Visit to the Temple (1539). It hangs in place, where it was supposed to be already by the artist, just like another in a series of the oldest Venetian paintings, a triptych by Antonio Vivarini and Giovanni d'Alemagna (1446).

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