Venice is one huge museum, where a masterpiece lies in wait for an art lover at literally every step. Moreover, masterpieces of world art can be found not only in city museums, but also in numerous churches and cathedrals. For example, in the Madonna dell'Orto Cathedral there is a magnificent " Last Judgment". In San Zaccaria you can venerate Bellini’s Madonna and Child, and in the Cathedral of San Giovanni e Paolo, his altar. In Scuola di San Giorgio degli Schiavoni there is a brilliant cycle by Carpaccio dedicated to St. Jerome. And in Santa Maria Gloriosa dei Frari - Canova, Donatello, Bellini... And so on, and so on. However, Venice is not a cultural cemetery at all; contemporary art exhibitions are held in private foundations, and sometimes even in medieval cathedrals themselves, so artistic life It's not just the place that's bustling every two years during the Venice Biennale.
Following the art guides to leading museums and art centers, and, ARTANDHOUSES has compiled its list of art institutions of the floating city that are a must-visit.
The Doge's Palace is the Venetian Kremlin, the embodiment of luxury and power. The Grand Council and the Senate met in this grandiose palazzo, the Supreme Court judged, and even the secret police worked. From the balcony, the doges greeted the townspeople, while prisoners languished above, the most famous of whom were Giordano Bruno and Casanova. The palace is breathing Venetian history- here you need to be amazed at the lavishly decorated halls and staircases, look at portraits of the Doges, ancient maps, globes and, of course, paintings by famous Venetian artists. The largest painting in the world, “Paradise” by Jacobo Tintoretto and his son Domenico, 7 meters high and 22 meters long, “The Triumph of Venice” - examples of official Venetian Baroque painting - amazes with its grandeur. Be sure to climb the Giant's Staircase, carved from Carrara marble, crowned by statues of Mars and Neptune, to the Hall Great Council- the largest hall without supports not only in Venice, but in all of Italy. In addition, the palace constantly hosts temporary exhibitions covering the most different stages history of art. If you decide to start seeing Venice from the Doge's Palace, take a look at the nearby Cathedral of San Marco - an 8,000 sq. m of mosaics created from Byzantine times to the Renaissance.
The Accademia Gallery houses the largest collection of Venetian painting from the 14th to 18th centuries. Initially, artists studied at the Academy from 1750, but at the beginning of the 19th century it became a museum. In terms of the number of masterpieces, the Academy can compete with the best museums in the world. “The Storm” by Giorgione, “The Feast in the House of Levi” by Paolo Veronese, the last “Pieta” by Titian, “The Miracle of St. Mark” by Tintoretto, “Madonna Enthroned” by Giovanni Bellini, “Scenes from the Legend of Saint Ursula” by Vittore Carpaccio, masterpieces by Andrea Mantegna , Paolo Veneziano - exhibits of the Accademia Gallery, which are in the textbooks of world art history.
Photo: Maddalena Santi
At the Correr Municipal Museum you can learn about Venetian culture from the last period of the Venetian Republic. The museum was founded in 1830 on the basis of the collection of the Venetian patrician Teodoro Correr, who bequeathed his most valuable collection of paintings and decorative arts to the city. Subsequently, the museum acquired two more collections - an art gallery and the Risorgimento Museum. From the Correr collection in the museum are historical views of Venice, documents, vedettes from the Canaletto school, clothing, coins and seals, as well as historical weapons. Among the masterpieces of the art gallery is “Two Venetian Women” by Carpaccio. Temporary exhibitions at the institution are often dedicated to the art of the 20th–21st centuries.
Despite its intimate size, the Peggy Guggenheim Museum, located in the Palazzo Venier dei Leoni on the Grand Canal, is the most visited museum in Venice after the Doge's Palazzo. Here you can see more than 300 works of European modernism. The niece of Solomon Guggenheim, Peggy supported and appreciated the avant-garde, as did her uncle, who opened the Museum of Modern Art in New York. For the last 30 years of her life she lived in Venice, where after her death a museum was opened in her house. Peggy Guggenheim moved in the circles of artistic bohemia, being part of it (among her husbands was an artist), and was well versed in contemporary art, so there are practically no passing works in her collection. Among the top collections of the museum are “The Red Tower”, “The Poet”, “Rain”, “Moon Woman” by Jackson Pollock, “The Bride’s Attire” by Max Ernst, “The Sad Young Man on the Train”.
Palazzo Grassi is one of the most fashionable and relevant spaces of contemporary art, where you can see works from the collection of the French billionaire. Exhibitions at the Pinault Foundation are often provocative and even scandalous, according to the taste of their owner; In particular, last year's exhibition caused a lot of conflicting reviews. For more than 10 years, personal works of Rudolf Stinger from the Pinault collection and other collections have been held here. The palace, built in the 18th century by the architect Giorgio Massari, was reconstructed in 2006 according to the design of the famous Japanese architect. On an area of 5000 sq. m managed to arrange 40 halls, and the interiors of the 18th century were disguised with white panels. Tadao Ando, with oriental subtlety, inscribed a perfect white cube into an ancient Venetian palace.
Photo: Prudence Cuming Associates
© Damien Hirst and Science Ltd.
The second exhibition space, owned by François Pinault, opened in 2009. The halls of the Palazzo Grassi seemed insufficient to accommodate all the exhibitions of the Pino Foundation, and the collector also acquired the maritime customs complex, which had been empty for 30 years. Tadao Ando was also invited to reconstruct the center, who this time handled the historical building much more freely. The complex's marble-clad façades have been carefully restored, as have the interior brickwork and timber beams. It hosts temporary exhibitions from the Pinault collection, in which other collections are also involved.
Photo: Matteo De Fina
© Palazzo Grassi
Ca Pesaro is one of the oldest contemporary art galleries in Venice, housing a collection of European art from the 19th and 20th centuries. The palace was built in the 17th century by the famous Baroque architect Baldassare Longhena, who also built the Church of San Salute and the Ca Rezzonico Palace. The International Gallery of Modern Art opened in 1902, and was eventually joined by the Museum of Oriental Art with a collection from Japan. It also houses selected works acquired from the Venice Biennale from its inception until the 1950s. Among the top collections are works by Pierre Bonnard, Marc Chagall,, Yves Tanguy, Joan Miró and even ours.
The Ca Rezzonico Palace is an example of luxurious Venetian Baroque architecture, the main treasure of which is the frescoes. The palace project, commissioned by the patrician Filippo Bona, was created by the eminent architect Baldessare Longhena at the turn of the 17th–18th centuries, and completed by Giorgio Masari in 1745. In 1751, the palace was acquired by wealthy businessman Giambattista Rezzonico, father of Pope Clement XIII. By his order, the unsurpassed master of optical illusion, Tiepolo, painted the ceiling of several halls in honor of the wedding of Ludovico Rezzonico. Tiepolo's dizzying angles, which went out of fashion for many years, once again arouse admiration. Chariots, putti and beautiful boys and girls seem to descend from heaven, for which Tiepolo’s rocaille stories are now commonly compared to 3D paintings. In addition to Tiepolo's frescoes, the palace houses a collection of paintings by artists of the 18th century, including Francesco Guardi and Pietro Longhi.
The Scuola San Rocco (Saint Roch) can be considered Tintoretto's museum: his works, which he painted over a period of 23 years, are preserved here. Scuola was founded in 1549 to help the sick: Saint Roch was revered as a protector against the plague - by the way, his relics are kept in the church directly opposite the scuola. Construction of the building began in 1515 according to the design of Bartolomeo Bona, and was completed in 1549 by the architect Antonio del Abbondi (Scarpagnino). Tintoretto won the competition to paint the scuola with his painting of Saint Roch in Glory, which now adorns the ceiling of the Albergo Hall. The painting cycle on the lower floor is dedicated to the Mother of God. On the walls of the staircase are huge picturesque stories written by Pietro Negri and Antonio Sanchi, with scenes of the horrors of the plague epidemic in Venice in 1630. However, the most famous painting of the scuola is considered to be the huge painting “The Crucifixion” by Tintoretto - 5 m long, on which you can also find his self-portrait.
The "Golden House", as the name of the palace is translated, is a masterpiece of Gothic architecture, inside which is hidden a wonderful collection of Renaissance paintings. The palace was built in the 15th century according to the design of the architects Giovanni and Bartolomeo Bon. Initially, the lace facade was decorated with gold leaf, vermilion and ultramarine - unfortunately, as a result of the barbaric reconstruction of the 19th century, the gold disappeared from the facade. The last owner of the palace, Baron Franchetti, amassed a magnificent collection of Renaissance paintings, and after his death in 1927, the palace became a gallery named after him. For the main pearl of his collection - Mantegna's "Saint Sebastian" - the baron built a chapel decorated with marble. A triptych dedicated to the Virgin Mary by Carpaccio, “Portrait of Nicolo Priuli” by Tintoretto, “Venus before a Mirror” by Titian, “Portrait of Marcello Durazzo” - paintings worthy of the best museums in the world can be seen here, in addition to other Renaissance rarities.
Behind the modest walls of Palazzo Fortuny lies a fantastic world. The palace, which belonged to a 20th century designer, is one of the most amazing places in the world. The legacy of Fortuny himself, a brilliant visionary and inventor, is kept here; exhibitions organized by modern designer and an antique dealer, mixing styles and eras with the dexterity of a juggler. The permanent exhibition includes paintings by Fortuny, textile and theater design, and innovative photography. Among Fortuny's inventions are pleated silk, printed velvet based on Renaissance fabric designs, and silk lampshades decorated with beads and silk cords. The designer also invented a system for changing theatrical scenery, the “panoramic Fortuny dome,” which was used in productions at the La Scala Theater in Milan.
Not long ago, Palazzo Cini opened its doors to visitors after an almost 10-year break for restoration. It houses a unique collection of Renaissance and Mannerist art from Florence and Ferrara. “The Judgment of Paris”, “Double Portrait of a Man” by Pontormo, the Madonna of Piero della Francesca and Ghirlandaio, icons, Limoges and Venetian enamels, majolica - all this in the stunning interiors of the passionate collector Count Vittorio Cini, who lived in the twentieth century. The museum was opened in 1984, and the Giorgio Cini Foundation, named after dead son Count, in 1954. The fund deserves special attention. Located in a monastery on the island of San Giorgio Maggiore, it has grown into one of the most significant research institutes in the world. Exhibitions of classical and contemporary art, conferences and lectures are held here, and a huge library is kept.
Photo: Matteo De Fina
One of the most vibrant and fashionable contemporary art venues in Venice. The foundation is located in the Baroque palace of Ca Corner della Regina, which it shares with the Venice Biennale Archives. Since 1995, the foundation has hosted personal exhibitions by Francesco Vezzoli, Mark di Suvero, John Wisley, Thomas Demand, in addition to magnificent group exhibitions.
Founded in 1869 by Count Giovanni Querini Stampaglia, the foundation is an example of a Venetian aristocratic house. Paintings, sculptures, porcelain, fabrics and frescoes create an atmosphere of luxury, in which concerts and exhibitions of classical and modern art take place. The main attraction of the palace is a huge library, where you can visit at night. The night regime was prescribed in the will of the count himself. The library's collection exceeds 350 thousand items. Here you can retire and read periodicals - 20 daily Italian and foreign newspapers are available to readers.
Founded by Leonid Mikhelson, it is the only Russian private cultural space in Venice, which organically fits into the motley map of Venetian art funds. The four-story Foundation building in Venice opened on May 11, 2017 with the exhibition “Space, Power, Construction,” presenting soviet art 1920–30s. Today, exhibitions are changed here twice a year, where various works by artists of the 20th–21st centuries are collected both from the collection of the Foundation itself and from the collections of other institutions.
Gallery of the Academy of Fine Arts in Venice
The history of the collections of this Gallery is directly related to the emergence of the Academy of Arts itself. It was created in the 18th century, and was headed by outstanding masters of the Venetian school of painting. Members of the Academy of Arts were famous artists of Venice, their paintings formed the core around which the Gallery itself subsequently began to be created.
Separated in political life, Venice remained independent in artistic life. In no other center of Italian art did painting develop so calmly, without interruptions or interference.
The capture of Venice by the French changed a lot both in the fate of the city itself and in the fate of the Academy of Arts. Under the French, decrees were issued to close monasteries and brotherhoods that housed outstanding works of Venetian painters. For example, in 1807, Napoleon I issued a decree “on the collection of art objects from various churches and monasteries into the house of the Maria del Carita monastery, which was abolished during the revolution.” This house was built back in 1552 by the famous Palladius. The well-known expert in the matter, Count Cicognaro, was entrusted with managing the acquired treasures and guarding them.
All the precious examples of Venetian painting saved from destruction, remaining in the abolished monasteries, collapsed churches and palazzos, gradually formed the Gallery’s collection. And now it competes with everything that Europe has that is beautiful and precious. True, some of these paintings were transferred to galleries in Rome and Milan, but already in 1812 the first
own acquisitions (in particular, Pitati’s painting “The Parable of the Rich Man and Poor Lazarus”).
And soon the collection began to be enriched by purchases and rich donations from private patrons (Counts Cantarini, Manfrini, etc.). In 1850, the Austrian Emperor bought and donated to the Gallery the entire Pinakothek of Count-General Rainier, which remained after the death of his widow. Now these magnificent paintings occupy as many as four halls of the Gallery.
The Gallery of the Venice Academy of Arts is, in fact, a museum of Venetian painting; other schools have few representatives in it. But nowhere in the world can Titian, Tintoretto, Veronese and other famous Venetians be better studied than in this Gallery. Here they are represented in more than six hundred of their main and rare works.
The pride of the Pinakothek is Titian’s painting “The Assumption of Our Lady into Heaven.” Some art experts consider this painting to be the master’s best work, his most brilliant creation. The mysterious greatness of the God of Hosts is most miraculously combined with the unearthly enthusiasm of the Mother of God. The hosts of cherubim and seraphim, surrounded by a luminous radiance, highlight even more sharply the reverent humility of the apostles, silently marveling at the vision revealed before them. All this makes such a strong impression on the viewer that anyone who has ever seen this picture will not erase it from memory.
This masterpiece lay forgotten for a long time in the Church of Dei Frari. Sooty with incense and covered with mold, the painting was in complete neglect and oblivion until a lucky chance pointed it out to Count Cicognaro. He placed it in the Gallery, and successful restoration returned to the world the greatest work of a brilliant artist.
Another painting by Titian, located in the Venetian Gallery, is “Presentation of the Virgin Mary in the Temple.” This is a huge canvas in which all the genius of Titian was expressed. He placed in the picture everything that could be required from the most exquisite and thoughtful work. In a luxurious architectural setting, surrounded by a majestic landscape, the people depicted in the painting are present at the sacred ceremony of the dedication of the Virgin Mary to the Lord. This ceremony takes place on the steps and in the vestibule of the magnificent Temple of Jerusalem.
Paolo Veronese is represented in the Gallery with his most colossal work - “Dinner at the House of Levi”. The painting is placed along the entire length of the huge hall, and from a distance it seems like a continuation of the hall itself. It’s as if living people, separated from the canvas, sit, walk, move, as if laughing at the illusory illusion of the visitors’ eyes.
At first, this picture was painted for the reflectorium (refectory) of the monastery of Saints Giovanni and Paolo. Then Napoleon took it to France, but in 1815 the painting returned to its homeland. However, it did not end up in its original place, but was placed in the Gallery, where it is one of its decorations.
In it (as in most of Veronese’s paintings) one should not look for scrupulous accuracy in the depiction of costumes, details and details of that era. On the contrary, the absence of all the apostles at the dinner, the purely Venetian architecture and the style of the building in which the artist placed his characters (in Venetian costumes, with the facial features of famous figures of that time), make “Dinner in the House of Levi” as much a Venetian dinner as the famous biblical dinner, sanctified by the presence of Jesus Christ. But the brilliance of the costumes, the luxury of the majestic setting and the extraordinary painting of colors put this picture among the greatest works, ever coming from the painter's brush.
Of the old masters of Venetian painting, Bonifacio, the famous contemporary of Titian, to whom he was long considered a rival, is most vividly and originally represented. More than twenty paintings by this master adorn the Gallery of the Venice Academy of Arts. It is here that you can study the artistic style of this master, which has not yet been fully appreciated. Outside the walls of Venice, he is little known, and his works, located in museums in Europe, are often attributed to Titian, so close did Bonifacio come to the great artist in brushwork, manner and color of writing.
His huge canvas “The Savior on the Throne, in the Crown of David, with Saint Mark, Louis, Domenic and Saint Anne” standing before him is on display in the Gallery. At the foot of the throne, three heavenly beauty angels play lutes. The design and coloring of this painting are truly impeccable.
Vittore Carpaccio is represented in the Gallery with a cycle of paintings dedicated to the legendary life of Saint Ursula. The paintings were painted for the brotherhood of Saint Ursula, but after a century and a half the brotherhood was destroyed, and Carpaccio’s paintings were cut off by 10 centimeters in width and length.
In the 18th–19th centuries they were restored, but unsuccessfully. Now the paintings are exhibited in a separate room of the Gallery in the order in which they were originally presented in the fraternity.
...Ursula is a young Christian, the daughter of the King of Brittany, who agreed to become the wife of an English prince on condition of his baptism and their pilgrimage to Rome, accompanied by girls. On the way back from Rome, Ursula and her companions fell into the hands of the King of the Huns. For refusing to become his wife, the cruel Hun killed Ursula and her companions.
From the legend, Carpaccio singled out those scenes that seemed to him the most significant, and wrote his famous cycle based on these scenes. The cycle consists of nine canvases - “Arrival of the English Ambassadors”, “Reception of the English Ambassadors”, “Ursula’s Dream”, “Arrival in Rome” and others. The largest in size - the composition "Ursula's Meeting with the Groom" - is divided into two parts. On the left is a scene in an English port, on the right is in Brittany. The inscription “Misfortune” stands out on the sail of the ship, and at the foot of the banner there is a scorpion - a symbol of unhappy fate.
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Among the world's art museums
Venetian Gallery of the Academy of Fine Arts (Gallerie dell’Accademia)- in the top ten best and richest collection of paintings. In this Gallery, or rather, Galleries, almost all Venetianpainting from the 13th to the 18th centuries, it presents the Venetian school in the process of its entire development.For a person who considers himself cultured, skipping the Academy Galleries is simply an unforgivable act, akin to a moral crime. And first of all, to yourself.
Vaporetto, the following along routes No. 1 and 2, make a stop at the Academy. When you exit the vaporetto, you will see a side street directly in front of you.wall former church , and a little deeper -white buildingwith an inscription at the top"Accademia di Belle Arti", and above the door itself -"Gallerie".
Vaporetto No. 5.1, 5.2, 6(directions With, from the island) will take you to the stop "Zattere". From her in a straight lineRio Terra M. Foscarini you will pass to the Academy Bridge, to your left will be the desired building of the former church and the treasured door to the Galleries. The road from the vaporetto stop to the doors of the Galleries will take at mostfive minutes.
The last entry means that
one hour before closingThe museum stops selling tickets and admitting visitors.Ticket price -
12 euros.Academy Galleries website:
gallerieaccademia.org.The Academy's galleries are located in 24 halls. There is no special system for organizing collections in this museum, neither thematic nor chronological. This can cause confusion in the perception process. But the beauty of this museum is that getting lost in its halls is as pleasant as on the streets of Venice itself.
The collection of the Galleries consists of paintings by all famous and not so famous representatives of the Venetian school of painting. In the collection you can see paintings by Jacobello Albereño, Jacopo Bassano, Paolo and Lorenzo Veneziano, Jacobello del Fiore, Giovanni and Gentile Bellini, Vittore Carpaccio, Rosalba Carriera, Cima da Conegliano, Giorgione, Tintoretto, Paolo Veronese, Francesco Guardi, Pietro Longhi, Titian , Alvise and Antonio Vivarini. This list goes on.
Painting of the early Renaissance, canvases from the times of its heyday and decline, paintings of the eras that replaced the Renaissance. Enough Big hall dedicated to religious painting - Byzantine icon painting, as well as the works of her Venetian followers.
Each of the visitors will find in the halls of the Galleries something that will touch him to the quick, that will hook his soul and will not let go.
You can wander through these halls for a long time. Painting is a business that does not tolerate fuss and haste. That's why
take a whole day to visit the Galleries.The current Gallery began a long time ago.
In the 12th centuryon this site the church of Santa Maria della Carita’ (Mercy) was built and next to it a monastery. It was open in front of themone of the first, which dates back to 1260.Scuola in the 15th century received serious financial support from Pope Eugene IV, who was a Venetian by birth. This support made it possible to expand the space and renovate the building. The complex (church, monastery and Scuola) flourished in the following centuries. It got to the point that the monastery undertook some ambitious undertaking to reconstruct and reorganize its territories and buildings and entrusted the project not to anyone, but to itself
Andrea Palladio. True, the matter did not reach full implementation.The church is on the right.
In 1630There was a serious fire in the monastery, which could be considered the beginning of its decline. The decline ended with the collapse of the bell tower in 1744. What the Church of Santa Maria della Carita and its bell tower looked like can only be seen todayin Canaletto's paintings. The artist painted on canvas with meticulous precision and scrupulous realism.views of contemporary Venice. So, thanks to him, one can judge the changes that have befallen the city on the water.
The monastic order was abolished in 1768, the church was still working for some time, but in 1806 it was closed.
Scuola Santa Maria della Caritawas founded to help the sick and poor, which it successfully did throughout its centuries-old life. After the closure of the monastery, Scuola continued to work, thanks to its wealth, the premises occupied by Scuola were rebuilt many times. Even after the fire and the collapse of the bell tower, Scuola could afford to rebuild the façade and interior, which was carried out in 1760 by Bernardino Maccaurizzi and Giorgio Massari. But in1806 year and Scuola did not survive the closure. Together with the church shegone down in history.
Here it is necessary to introduce into the story a parallel line of narration.
In 1750on the initiative of Giovanni Battista Piazzetta VenetianThe Senate establishes the Venice Academy of Fine Arts. This school of painting, sculpture and architecture was to make Venice one of the centers of artistic education in Italy and Europe, along with Rome, Florence, Bologna and Milan.In 1807By order of Napoleon, who occupied Venice, the Academy became the Royal Academy and moved into the buildings where it lives to this day. The Academy's first collections were small. A huge number of Venetian masterpieces ended up in museums in France at that time.
The Academy gradually bought up paintings by compatriots, collected what was left in the city, compiling sets of visual aids for its students. While collecting the collection, the management of the art school rebuilt and interior spaces: some of them were used as classrooms, the rest of the space became exhibition space.
The defeat of Napoleonic France returned part of the looted goods home.
Between 1870 and 1882There was a process of separation between the Academy and the museum. Since the beginning of the 20th century, the museum has finally taken shape and began to increase its funds. TodayAcademy Galleries- one of the most visited museums in Venice, known throughout the world.Hello friends. Throughout its history, Venice was the religious, economic and military center of Europe. The importance of Venice as a powerful political force has been lost, but the immortal works of high art collected here over centuries of prosperity still attract connoisseurs of beauty from all over the world. The largest collection of masterpieces visual arts is the Accademia Gallery in Venice.
The most extensive collection of Venetian painting from the period XIV-XVIII centuries is stored here. This landmark also gave its name to one bridge crossing. So let's look at it a little more closely.
Accademia Gallery in Venice
The history of the Academy Gallery (Gallerie dell'Accademia) began thanks to the Venetian Giovanni Battista Piazzetta. At his request, the Venetian Academy of Fine Arts was founded in 1750, where young people could study the art of painting, architecture, and sculpture.
The creation of such an institution pursued another ambitious goal - to make the city a significant center of painting and sculpture in Italy, putting it on the same level as Rome, Milan, and Florence.
So, for several centuries, the building of the former church under the shadow of the gardens of San Marco gradually became a place where new generations of talents were trained.
Academy Bridge in the painting
TO early XIX century, the institution received the name “Royal Academy of Fine Arts”. And the academy itself was moved to another building, where it is still located.
Bright rooms previously occupied art school, were given over to the museum.
Nowadays sculptures and paintings of the greatest Italian masters are kept here: Vecellio Titian, Paolo Veneziano, Giorgione, Lorenzo Veneziano.
Surely your visit to the Academy Gallery will begin with surprise. At first glance, the museum’s small building contains as many as 25 rooms, and the collection on display cannot be called modest.
The first room introduces Byzantine icons, the artistic features of which had a strong influence on many Venetian masters, for example Giovanni Bellini. There are his works here - the famous “Madonnas”, as well as the works of Giovanni’s father and brother.
Gallery Hall
The gallery contains works by the Venetian Titian. True, he worked more often outside hometown. From Titian's works you can see the paintings: “Pieta”, “Assumption of Our Lady into Heaven”. Many experts consider the Assumption of the Mother of God into Heaven the artist’s best work.
Associated with the legendary painting by Titian interesting story. For a long time it simply lay in the Church of Dei Frari, happily covered with mold and dirt. But one day she caught the eye of Count Cicognaro. It was he who saved this work of art from oblivion.
No less remarkable in its significance for the history of fine art is the large-scale work of Paolo Veronese “Dinner at the House of Levi.” It depicts incredibly realistically people enjoying the impression they make on the audience.
Hall in the museum
Of great interest is the cycle of paintings by Tintoretto “The Miracle of St. Mark”. Art critics say that in it the artist fully revealed his talent.
The cycle of paintings by Vittore Carpaccio “The History of Saint Ursula” is worthy of no less attention. This is one of two cycles preserved in Venice.
In addition to the works of the already named artists, the Accademia Gallery presents paintings by Jacobello del Fiore, Lorenzo Lotto, Francesco Guardi and other artists.
Academy Bridge
The museum has free days. Details can be found at official website.
Ticket prices range from €0 to €12, depending on the benefits and exhibitions you want to attend.
You can get, or rather swim, to the museum along the Grand Canal on. The final stop will be called Ponte dell'Accademia.
Address: Ponte dell'Accademia, Campo della Carita, 1050.
Getting into the Academy Gallery is not so easy. There are almost always crowds of tourists waiting in front of the entrance. But the unique collection of the museum is worth any, even the longest, wait. We wish you to wait your turn for the beautiful.
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