From 13 October 2023 to 09 January 2024 *Exhibition extended to 14 February 2024
Venice, Ca’ Rezzonico – Museo del Settecento Veneziano

Curated by Alberto Craievich

The fame of Rosalba Carriera (1673–1757), the most celebrated female Italian artist in 18th-century Europe, knew no bounds. Everyone from English lords to princes of the Empire agreed on the excellence of her portraits. She was perhaps the only artist to find unanimous approval among the most sophisticated connoisseurs of international high society and the traditional, conservative Venetian aristocracy. For almost half a century, the courts of Europe sought her services. Yet despite frequent invitations and generous
proposals, aside from three visits: to the court of the King of France, to the Duke of Modena, and to the Emperor’s court in Vienna, she preferred to remain in Venice, where she worked ceaselessly throughout her life.

She is credited with the most discerning portrayals of the personalities of 18thcentury Venetian and European society. She was an incomparable interpreter of the ideals of grace and elegance of an entire era, a social milieu that has now entered the collective imagination as our idea of the ancien régime.

In addition to devoting herself to pastel portraiture, Rosalba Carriera was an outstanding painter of miniatures on ivory; in fact she pioneered this genre, elevating it from a craft to a true art. Using an innovative technique, she succeeded for the first time in bringing the fluid, vibrant brushstrokes of painting on canvas to tiny ivory supports. Her success was immediate. There was no visitor to Venice who did not aspire to have a miniature portrait made by Rosalba. Today, however, these small images are rare, in fact their number is much smaller than her pastel work.

It is to Rosalba Carriera the miniaturist that this retrospective is dedicated, with thirtysix works on display, together with the pastels from the Fondazione Musei Civici di Venezia and from private collections. The exhibition offers a very rare opportunity to admire these works of extraordinarily delicate refinement, now classic examples of Rococo art, in the year that marks the three hundred and fiftieth anniversary of the artist’s birth.

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Ca’ Rezzonico, Museo del Settecento Veneziano
14 July- 25 September 2023

Curated by
Fondazione Lino Tagliapietra
Fondazione Musei Civici di Venezia

“Probably no two words are more respected and honored in the history of modern glass sculpture than “Lino Tagliapietra”. He embodies the living bridge, the crucial conjunction between the august history of Venetian glass and the continuous wonders of what we call today the modern movement of Studio Glass”
— James Yood, The Hands of the Maestro

Curated by Fondazione Lino Tagliapietra together with Fondazione Musei Civici di Venezia, Lino Tagliapietra. The Origins of a Journey wants to pay homage to an artist, traveler, experimenter, during his constant search for stimuli he can transfer to his works, including passionate research, technical perfection, and sublimation of the beauty of glass.

Today this journey of creativity, color and craftsmanship has found a new temporary home in the renovated rooms of the Ca’ Rezzonico Museum in Venice. Mounted in an itinerary designed by the architect Chiara Lamonarca on the first and second floors of the palazzo, the 21 works on display offer a cross section of the Maestro’s vast production over the last thirty years in an open dialogue with the eighteenth-century masterpieces around them. Alongside iconic works such as the long-necked Dinosaur, Fuji, Asola, Niomea, Oca, Africa, and Hopi offer a description of traditional Murano techniques such as blown glass with canes, filigree, murrines, incalmo, double blowing or other typical processes of the second processing such as beating and grinding. It is with these sculptural works that Lino Tagliapietra established himself as an independent artist, heralding new seasons and generations of glass artists.

Also on display is a careful selection of panels in fused glass created between 1999 and 2012, made by superimposing different techniques and colors. The initial evocations — already declared in the titles Finestra sul campiello, Ponticello, Rio Grande – not only represent doors leading to places close to the Maestro’s heart, but also express passions, such as Rothko’s painting. In this case the works are pictorial rather than sculptural, in contrast to the practice of an artist who has hardly ever made preparatory drawings.
Made of glass frit with solid glass inserts or with the use of canes and zanfirico murrine, the panels are undoubtedly among Lino Tagliapietra’s most experimental and demanding works, and it is in these that his relentless, exotic, experimental and creative drive emerges.
The panel Giuditta closes the exhibition on the second floor. Like a glass altarpiece installed between two altarpieces, the work stands out for its bright colors and the stylized profile that characterizes its subject. A prayer and thanksgiving for a life spent in the color and art of glass.

Image gallery: photo Roberta Orio

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Born in Venice in 1934, Lino Tagliapietra has been working with glass since he became an apprentice when he was just eleven. From a young age his unique talent made him stand out in Murano, earning the title of maestro when he was only twenty-one years old for his expertise in the art of blown glass. His prolific talent on the island of glass in the Venetian lagoon, together with his insatiable curiosity, soon led him to travel extensively, so much so that in 1979 he made a trip to America and visited Seattle for the first time. It was here that he introduced the Pilchuck School students to the traditions of Venetian glassblowing, thus cementing his name in the history of the American glassblowing tradition. Through his teachings, Tagliapietra has irrevocably changed the use of glass in the United States, setting a new future for this medium, infused with the knowledge and skill of the Italian tradition interpreted through a new vibrant energy.

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FLAVIO FAVELLI. Inverse beauty

9 May – 15 September 2019
Venezia, Ca’ Rezzonico – Museo del Settecento Veneziano

Curated by Gabriella Belli

Ca’ Rezzonico is taking part in the MUVE Contemporaneo project by hosting Flavio Favelli’s site-specific exhibition that traverses the museum’s monumental rooms.

Fifteen new works form the basis of the exhibition of Flavio Favelli at Ca’ Rezzonico. Inverse beauty, “that is reversed, opposite”, explains the artist, tells of “a beauty imagined that is my imagination, something that is not easy to display in a place and in a city that is the Art par excellence”.

“Venice has always been a stage in my life; as a child I used to go there because, as my mother said, “you have to know Italy”. It is difficult to exhibit in such distinctive places: one always seeks out a dialogue, and there is the hope that the artist of today, who by his nature is considered “lightweight” compared to the art of the past, pays homage to our Art & History seen as a kind of ideal to which to aspire”.

The wooden platforms that for months have been trampled on by passers-by who crossed the Accademia bridge, covered for a restoration that was completed at the end of last year, bearing the signs of trampling feet and work paints. A red star recalling an advertisement, light-boxes with logos and names (Generali, Lacoste, Coca-Cola) and the brands erased by paint, the reinterpretation of an old label of the famous Venetian aperitif Select that becomes a banner. Iron lattices in the form of a trellis, mimetic motifs of warships, scratched mirrors, reconstructed furniture and silver-plated trays. The common denominator of these works is the overlapping of images, textures and materials. The form is the assembly, the combination of forms and objects and meanings, the composition, the collage and finally the painting. The central theme is that of the altered and sophisticated sign-text-logo for a different image that shifts and adulterates the original meaning and leads to a new formal and conceptual complexity.

The artist also makes use of buildings, pylons, furniture and tin panels, signs, “abstract” statues and light-boxes. As the artist notes, in the Museo del Settecento Veneziano “there are no walls to pierce”: the intervention is therefore site-specific in the most practical sense, with three-dimensional works.

Flavio Favelli does not only look at the history of art. In his work we may also find the history of costume, everyday objects, tools of communication, and of advertising “which in Italy has influenced our history more than we think”, and there is the biography of the artist himself, for those materials and those imaginary have settled in his personal story too.

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Anton Maria Zanetti (1679-1767) was a central figure in the eighteenth-century history of Venetian collecting and in the world’s endorsement of Venetian art. An art patron and influential intermediary on behalf of nobles and sovereigns, commissioning and purchasing works by Venice’s most famous artists, Zanetti was perhaps the most influential character in the Venetian art scene of the time. Known as “il Vecchio”, or “di Girolamo”, to distinguish him from his namesake younger cousin who was a famous librarian at the Marciana Library in Venice, Zanetti was not only a passionate collector but also a talented draughtsman and skilled engraver. After his father’s death in 1711, he was forced to provide for the rest of the family as an insurance agent, but despite difficulties, this did not prevent him from following his own inclinations.

A friend to artists such as Canaletto, Rosalba Carriera, Sebastiano and Marco Ricci and Giambattista Tiepolo, Zanetti was in close contact with the most important European collectors. 

He himself assembled an extraordinary collection of antique gems, drawings and prints that was dispersed after his death. He also promoted splendid publishing initiatives, most notably two volumes  on ancient sculpture, now conserved in the vestibule of the Marciana Library and one of the most beautiful and luxurious illustrated publications of the entire eighteenth century.

An inexhaustible collection of letters, now spread among libraries and private collectors, documents his dense network of relationships and friendships and offers a rare insight into the cultural life of the period. To commemorate this extraordinary figure, the Fondazione Musei Civici di Venezia is dedicating him an exhibition that highlights his activities as an artist and patron. Testimonies from his life in the form of books, letters, engravings and drawings, none of which are usually exhibited for conservation reasons, will be shown together with art from his collection, including works by Tiepolo, Sebastiano and Marco Ricci, Palma il Giovane and others, now preserved in the city’s museums, among these the Gallerie dell’Accademia di Venezia, the Giorgio Cini Foundation, the Biblioteca Nazionale Marciana and Venice’s civic museums, as well as in several private collections.

Curated by Alberto Craievich

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During the first half of the eighteenth century, Venice was not only home to artist Rosalba Carriera, but also to another prominent painter, unfortunately completely ignored outside her homeland: Giulia Lama, whose father Agostino was also a painter, as well as an art dealer and art expert. Unlike her female artist contemporaries who were engaged in producing “feminine” genres such as portraiture or miniatures, Giulia focused on historical painting, creating large, densely filled compositions.

Far from the purely decorative or warmly sensual, Giulia Lama’s art is characterised by images of a powerful three-dimensional quality and expressive force, violent in its brushstrokes and use of colour, and close in character to Giambattista Piazzetta’s work in Venice in the same period.

Indeed Piazzetta has left us with an extraordinary portrait of Giulia Lama, who seems not to have been beautiful, but to have had a strong if melancholy temperament. The Correr Museum Cabinet of Drawings and Prints contains a splendid selection of Lama’s graphic works, all of them nude life drawings: certainly an unconventional practice for a woman of that time, yet one which fully reveals to us her independent, nonconformist personality.

A number of these works have been restored for this occasion and are on show for the first time.

Curated by Alberto Craievich

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Curated by Beatrice Merz, artist Marzia Migliora’s exhibition features her recurrent expressive modes conveyed through a wide range of media, including photography, video, sound, performance, installation and drawing. Her work originates from a particular interest in the daily life of the individual, such as minor occurrences, topical events and personal memories. The result is a composite work that offers the public a shared experience of strong emotional and intellectual participation.

For this multifaceted project, Marzia Migliora once again takes her cue from the show’s venue. Attracted by the many connotations Venice evokes, from its complex history to its current contradictions, Migliora links Venetian affairs to those of the working world, with all its many legendary, literary and social implications.

The result is a sitespecific project that also dialogues with several of the works from the collection housed in Ca’ Rezzonico’s historic museum building, such as the Mondo nuovo (New World) fresco by Giandomenico Tiepolo and the painting Il Rinoceronte (The Rhinoceros) by Pietro Longhi.

In this way, Ca’ Rezzonico is transformed into a meeting point for the historic and contemporary, where the stories appear to us in all their complexity and density of value. The focus is on the horizon and accompanies  the decline of an era or, more accurately, various eras.

The velma, that gives the title at the exhibition, is the “meeting point” in the relationship between water and land, the symbol of something underwater that never stops emerging, thus becomes “an urgency of the present” and a bridge that connects us with the past.

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In collaboration with
Fondazione Merz, Torino

Scientific coordination by : Gabriella Belli

Curated by : Beatrice Merz

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Four young German artists, hosted for three months by the German Centre for Venetian Studies at the Palazzo Barbarigo della Terrazza, had the opportunity to personally experience and analyse the relationship between Venice and its visitors.

Heike Gallmeier creates wild constructions in her studio that evoke comparisons with Kurt Schwitters’ Merzbau, but her concept is a different one: the apparent chaos culminates in a camera-made image that seems almost painted, with constant references to art history, including the Venetian Renaissance.

In Faire des clichés, Inga Kerber has portrayed people in Venice, a city that could itself be defined as a “place-cliché” that is characterised in turn by the presence of an infinite number of other clichés. She has tried to freeze the moment in which her subject – whether resident or visitor – is transformed, like an actor about to go on stage.

Klaus Kleine has “captured” the floor of Palazzo Barbarigo’s water door by means of a frottage technique. This has allowed him to experiment with reliefs of the surface and from them create freestanding sculptures. He has also made wooden forms coloured with the same black lacquer as the gondola on display on the ground floor, thus transposing the aesthetic and beauty of this unique form of vessel into a contemporary key.

Using film, Johanna von Monkiewitsch has captured and extrapolated certain effects of light in a number of specific places, then removed them from their original world in order to transmit them elsewhere via video projectors. For this exhibition, she filmed and isolated several Gibigiane, flashes of light fractured by the water at the Palazzo Ducale and at Palazzo Fortuny, subsequently projecting them onto the walls of the Ca’ Rezzonico entrance hall to stimulate the visitor’s perception.

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Curated by: Petra Schaefer

With the support of:

Centro Tedesco di Studi Veneziani

L’Incaricata del Governo Federale della Repubblica di Germania per la Cultura e i Media

Dr. Christiane Hackerodt Kunst- und Kulturstiftung

Fondazione Berengo

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Exibition extended until 26 September 2016

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Porcelain is perhaps the material that best embodies the spirit and aesthetic of the eighteenth century: glossy and light, it naturally lends itself to the creation of objects characterised by elegant, flowing lines.

For long kept a secret by Chinese manufacturers, it was re-created in Europe in the second decade of the eighteenth century at the Saxon court of Augustus the Strong and from there gradually spread across the continent, despite desperate attempts to hide the formula.

During the eighteenth century the Venetian Republic was the only state to have no less than four porcelain factories, all of them opened by private initiative. One of these was that of Geminiano Cozzi (1728 – 1798), born in Modena but Venetian by choice. It is to his extraordinary activity as an entrepreneur ante litteram that the Fondazione Musei Civici di Venezia is now dedicating the first ever retrospective, 250 years after the privilege granted to him by the Republic in 1765 (and which marks the real birth of the Cozzi manufacture).

It is no coincidence that the exhibition should be presented in the pòrtego on the first floor of Ca’ Rezzonico, the Museo del Settecento veneziano, a venue that in terms of its form and history is the best-suited to celebrating one of the most fascinating aspects of eighteenth-century art.

Curated by Marcella Ansaldi and Alberto Craievich, the exhibition features over six hundred pieces from Italian and foreign museums, including the few items to have a firm date and the many still in private collections and hitherto difficult of access to the public and to scholars, a circumstance that has not helped the fortune critique of Cozzi: only today is his work as artist and manufacture being being its due recognition within the European scene.

Unfolding in a development that is both chronological and thematic, the exhibition shows the evolution of Cozzi’s manufacture and of the types of decoration and various items, highlighting on the one hand one of the most fascinating art-historical events of the eighteenth century, and on the other by presenting an overview of a manufacturing activity of the period that includes items of surprising modernity.

The development of the art of porcelain in the eighteenth century in the Venetian Republic was undertaken by figures who were controversial, stubborn and fascinating.

One of these was the Giovanni Vezzi, goldsmith and merchant, who in 1720 started his own production in Venice; another was Nathaniel Friederich Hewelcke, a Saxon merchant who emigrated in 1757 from Meissen because of the closure of the factory during the Seven Years War; he requested and obtained a twenty-year privilege to manufacture “Saxon porcelain of any and all types” in Venice.

And aside from the aforementioned Geminiano Cozzi, we might also mention Giovanni Battista Antonibon, who in 1762 started production in Nove (VI) thirty years after obtaining the privilege from the Serenissima’ “Savi della Mercanzia” for the production of high-quality majolica quality for twenty years without having to pay taxes (1732).

Their destiny, however, despite the qualitatively extraordinary work, was not so lucky: after a few years, Vezzi and Hewelcke were obliged to abandon their businesses because of debts, and only Antonibon in Nove and Cozzi in Venice were able to establish long-lasting businesses, despite encountering difficulties on the way.

The exhibition can be visited during normal museum hours and with the same ticket, and is accompanied by an illustrated catalogue (Antiga Edizioni, Crocetta del Montello, Treviso, 2016) which benefits from an international scientific committee and the collaboration of leading experts in the field.

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Curated by Marcella Ansaldi and Alberto Craievich

With the contribution of:

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Extended until January 11, 2016

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It is not often that there is an opportunity to trace in detail the history of a Venetian aristocratic family. One exception is the Pisani family of San Polo, better known by the epithet of Moretta.

The name of the Pisani household, one of the most prestigious in Venice, immediately evokes opulence and wealth. Divided into many branches, the best known was that of Santo Stefano, which was responsible for the construction of the grandiose villa of Stra (in the Venetian hinterland), and that of San Polo. It was a family with great wealth which also owned the beautiful Gothic palace on the Grand Canal, decorated around 1745 by the greatest artists active in Venice.

The family is also linked to an eponymous lawsuit, perhaps the most famous trial to take place in Venice in the 18th century, and whichprovides a perfect example of the social dynamics and contradictions of the Venetian nobility before the fall of the Serenissima.

The part of the family archive donated to the library of the Museo Correr by conte Leonardo de Lazara Pisani-Zusto in 1975 sheds some light on the Pisani Moretta family. But this is not the only link between the Moretta and the Fondazione Musei Civici di Venezia.

Starting with some famous works by Canova, such as the Daedalus and Icarus and the plaster winged Cupid, and the family archive, the Pisani – and their heirs – have over more than a century sought to ensure that a number of the extraordinary works of art in their collection remain within the city of Venice.

Many of them are now at Ca’ Rezzonico and include the Death of Darius by Giambattista Piazzetta, the superb console tops by Benedict Corbarelli and the travel service in onyx and silver produced in Augsburg for the marriage between Pietro Vettor Pisani and Caterina Grimani.

The exhibition will document one of the most important examples of collecting in Venice, starting from this core of masterpieces and presenting approximately one hundred works that used to belong to the Pisani Moretta and have been loaned for the exhibition from numerous private collections.

In addition to paintings and sculptures, particular attention will be devoted to the decorative arts, such as the services in Murano glass, silverware, majolica and porcelain dishes, and lace. Also on display will be everyday objects and some curiosities documenting not only the taste but also the intimate daily life of one of the most prominent families of 18th-century Venice.

The exhibition, curated by Alberto Craievich, will be accompanied by a catalogue published by Antiga Edizioni and containing texts by Marcella Ansaldi, Letizia Caselli, Ileana Chiappini, Rossella Granziero, Giuseppe Gullino, Giuseppe Pavanello, Jan Rössler, Francesca Stopper and Giovanni C. F. Villa.

DOWNLOAD THE SELECTION OF MAIN WORKS ON DISPLAY (.PDF 212 KB) >>>
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Admission is allowed with the hours and tickets of the museum >>>

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From June 14, 2014 to May 4, 2015
Ca’ Rezzonico, Venice

In 1936, Nino Barbantini presented an exhibition at Ca’ Rezzonico dedicated to the porcelain of Venice and Nove to document an aspect that of 18th century Venetian Art that had hitherto been largely overlooked. The works displayed came above all from Venice’s civic collections and from museums and private collections throughout Italy.

The most generous lender however, was a Venetian, conte Marino Nani Mocenigo, an emblematic collector who had dedicated his existence to forming a collection of porcelain. Such was his obsession that he was given the affectionate nickname of “count cup” by his fellow citizens. Following his death, his wife decided to form a memorial to he rhusband by making accessible the collection he had formed with such passion. The objects were put on display at Ca’ del Duca, a tiny but excellent museum developed, but which it has been impossible to visit for a long time.

On this occasion, by request of the family, the porcelain collection of Marino Nani Mocenigo will be displayed in the rooms of Ca’ Rezzonico. The exhibition will present 338 pieces produced by the most important manufactories of Europe,with a predominant focus on about 100 Venetian articles – including some splendid examples by Vezzi, two very rare coffee-pots by Hewelcke, almost all the figural groups made by Pasquale Antonibon at Nove and Geminiano Cozzi in Venice – constituting the most conspicuous and important part of the exhibition. Perhaps the most famous work in the collection is a delightful Geographer by Geminiano Cozzi.

visitors can also admire some of the most famous works to have been produced by the Meissen factory, modelled by Johann Joachim Kändler and by Peter Reinicke, such as The Polish Kiss, The Chinese Girl, The Hunter, together with some astonishing dinner services, also from Meissen, dating from the early 18th century; one of these with gold decorations, and another in white porcelain with still lifes of fruit.

Together with Meissen, the exhibition will display examples of fine porcelain production from other German-speaking centres: a very rare part of a Chinoiserie dinner service made in Vienna by Claudius Innocentius Du Paquier, and articles from Ludwigsburg, Frankenthal, Höchst and Berlin.

The exhibition closes with a large selection of cups and saucers by the imperial manufacture of Vienna dating from the Sorgenthal period, all characterised by an astonishing use of colour and bold combination of ornamental motifs.

The exhibition is accompanied by a catalogue published by Scripta Editore – Verona, and produced thanks to a contribution from the Venice International Foundation.

Curated by Marcella Ansaldi and Alberto Craievich

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Admission is allowed with the hours and tickets of the museum >>>

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From May 18th to October 13th 2013
Ca’ Rezzonico, Venice

From May 18th to October 13th 2013 / EXTENDED TO DECEMBER 31st 2013
Museo Correr, Venice

From May 31st to October 13th 2013 / EXTENDED TO DECEMBER 31st 2013
Ca’ Pesaro, Venice

This year, Emilio Vedova will be speaking to the whole of Venice, his works will be “living” in some of the most prestigious cultural venues of the city.

These venues include three “cult” museums – the Museo Correr, Ca’ Rezzonico – Museum of the 18th century Venice and Ca’ Pesaro, International Gallery of Modern Art – whose permanent collections will “open up” to an extraordinary “meeting-cum-confrontation” with the work of the great Venetian painter through a common denominator called “Vedova Plurimo”.

This is the title of the project promoted with the collaboration of the Fondazione Emilio e Annabianca Vedova and curated by Germano Celant, and its aim is to encourage visitors to take a fresh look at Vedova’s masterly works in the light of Venice’s art history which has inevitably permeated his own extraordinary personality as an artist.

On the second floor of Ca’ Rezzonico, two Frammenti (one of which dedicated to Tiepolo), will go on display opposite the extraordinary detached frescos from Villa di Zianigo by Giandomenico Tiepolo himself, together with a Frammento/Scheggia, in an intense “dialogue” with the great 18^th-century painter, author of the “Mondo Novo”.

Discover more about “Vedova plurimo” at Museo Correr >>>

Discover more about “Vedova plurimo” at Ca’ Pesaro >>>

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In collaboration with Fondazione Emilio e Annabianca Vedova
Curated by Germano Celant

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From May 31st to September 10th 2013 / EXHIBITION EXTENDED TO NOVEMBER 24th 2013
Ca’ Rezzonico, Museum of the 18th century Venice

Among the most spectacular ceremonies Venice used to organise in the past were the regattas arranged by the Serenissima in honour of princes and rulers visiting the city. The most important artists of the 18th century assisted in the making of the extravagant vessels bearing such exotic names as bissone, malgarote, peote: specialists in the field, like Andrea Urbani or the Mauro family, together with leading artists, including Giambattista, Tiepolo, Francesco Guardi, Giambattista Piranesi, Gaspare Diziani and Francesco Zugno.

Freed of any functional constraints, the fantasy of the artists could be unleashed in the creation of bold inventions with ornamental motifs, mythological scenes and allegorical figures. These boats were designed to last the duration of a ceremony, and are documented today only through preparatory drawings or prints conveying a sense of their extravagant decoration and exceptional design.

One of the most important collections of prints and drawings dedicated to this specifically Venetian aspect of ephemeral baroque art is conserved in the Gabinetto dei disegni e delle stampe in Museo Correr, and is now displayed after a long period out of public sight, at Ca’ Rezzonico.

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Curated by Alberto Craievich

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From May 31st to November 24th 2013
Ca’ Rezzonico, Museum of 18th century Venice

A Very Light Art is an exhibition about the interface between art and the everyday objects. It is a reflection about design, and a study of the historic role of artists in relation to the built environment. The exhibition is located in the historic environs of the Ca’ Rezzonico, museum of 18th century Venice and showcases the work of artists who master space and material in relation to context.

Dangling, hanging, lighting – the contributions of seven artists are neither adornment nor addition to their stately context, but function in seamless continuation of ancient duties. The unique aspect of all the works selected – lighting structures and mobiles – is their emphasis on craftsmanship and technical finesse, almost all of them the product of high Italian artistry.

Mario Airò has proposed a lighting fixture using neon, a desk he has designed for Adele-C, in Milan, and a standing flower vase created with one of the finest coppersmiths in Italy, Luigi  Barato. Each object reveals its usefulness, yet can stand alone as a sculpture.

Stefano Arienti has proposed a small forest of trees composed of branches, with votive candles hanging from them. These are installed in one of the regal drawing rooms of the Ca’ Rezzonico, as lamp fixtures, in deliberate contrast to the noble palazzo.

Flavio Favelli is known for his magical transformations of mundane household objects, and their recomposition into sculptures of majesty and poetry. Gilded frames carrying velvet curtains, regal mirrors with surfaces washed away, or recomposed chandeliers turned from elements that are kitsch, into objects of beauty and grandeur. A major chandelier named Violet Murano is installed at the Grand Canal entrance of the Museo Ca’ Rezzonico.

Luigi Ontani, grand master of the italian art scene, offers his signature inversion of names and myths, in a series of works that seem contrived specifically for the Ca’ Rezzonico, but in fact, predate the exhibition. Ontani’s principle work is the chandelier Mayadusa, his first such glass lamp, realized in 1988 with the glassblower Maestro Silvano Signoretto. In the same room, will be exhibited Nel Regno del Ragno Eggoista, a large mirror depicting a spider weaving its web, and the vase Vanitaso, both accompanied by preparatory watercolors.

Gabriel Orozco is featured in the selection of two marvelous mobiles, enormous and ultra-light contraptions fabricated from hundreds of feathers. One mobile is in white feathers, the other, a cloud of light brown. His easy play nonethleless stems from a deep knowledge of sculpture and materials, as well as predecessors from Calder to Mirò.

Cerith Wyn Evans has elected to rewire the famous Ca’ Rezzonico chandelier, a marvelous work of art fabricated in the second half of the XVIII century. The chandelier, structured in the form of a “pagoda” in white glass with polychromy ornamento, was conceived and produced  by Giuseppe Briati in Murano. Evans has often used readymade lighting fixtures, and here too utilizes a suite of music known for its elegiac qualities, and placing under it one glass chrysanthemum produced especially for the occasion of the exhibition. The chandelier is meant to flicker to the tune of the music. A subtle and poetic “détournement” of history, capturing the melancholy that is unique to Venice.

Heimo Zobernig agreed to create a specially produced light object, a lamp that does not shed light so much as attract attention for its rare beauty. It is an object that is the largest glass size that can be blown in Murano, and has been produced in ruby red spheres, in a little edition.

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In collaboration with Università IUAV di Venezia
Scientific Coordination Gabriella Belli
Curated by Cornelia Lauf
Ideation and organization Caterina Tognon

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From December 7th 2013 to April 28th 2014
Ca’ Rezzonico – Museum of 18th-century Venice

This year sees the start of a new and fascinating investigation at Ca’ Rezzonico, the symbol of 18th century Venice, into landscape painting. This important genre developed during the 18th century in Venice, which provided an extraordinary source of inspiration for its exponents.

Among the leading figures of the genre, which is at the centre of a necessary re-evaluation, was Pietro Bellotti, Canaletto’s nephew and the younger brother of Bernardo Bellotti. Born in Venice in 1725, he developed a manner that was very different to that of the Canaletto ‘clan’ of which he was a part and despite exploiting the fame of his uncle (especially in France, where he lived for 50 years, calling himself “le Sieur Canalety” or “Pietro Bellotti di Caneletty”). After moving to Toulouse with his family, he stayed for a brief apprenticeship in his brother’s workshop and then was active in Besançon, Nantes, Lille and Paris and, at least for a brief period, in England. Adopting an autonomous, personal style, he developed Canaletto’s inventions, producing numerous views of Europe’s most important cities, together with some architectural capriccios, some of which realised with the collaboration of other landscape painters.

The exhibition will offer a survey of the painter’s long working life, bringing together the few of his works conserved in public collections, such as at the Yale Center for British Art and the Mauritshuis in The Hague, and about 40 other pictures, including signed works in private European collections.

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Curated by Charles Beddington, Alberto Craievich and Domenico Crivellari

L'articolo Exhibition sembra essere il primo su Archivio Ca' Rezzonico.

These sheets, restored for the occasion of this exhibition, will be displayed for the first time at Ca’ Rezzonico.
On the same occasion, a group of paintings showing Battles painted by Simonini and other artists contemporary to him will also be put on show.

The exhibition at Ca’ Rezzonico is curated by Aberto Craievich and Filippo Pedrocco

L'articolo Project sembra essere il primo su Archivio Ca' Rezzonico.