VENICE - "Punishment of the serpents" by Giambattista Tiepolo runs along the wall on the right, the monumental work more than 13 meters long created in 1732-34 and brought to light after a long restoration in the laboratories of the Misericordia, but in the other room c 'is the splendid "Deposition of Christ from the Cross" (1665) painted by the Neapolitan Luca Giordano for the Venetian church of Santa Maria del Pianto, where it remained until 1810 before entering the heritage of the Accademia Galleries. But still, freshly restored, the works of Gianantonio Guardi, Padovanino or a non-conformist painter such as Giulia Lama are offered to the public, with "Giuditta and Olofante" (1725-30). It is a sort of "museum within a museum", "the Galleries you don't expect"- as the title of the presentation states - the unprecedented exhibition itinerary dedicated to painting in Venice and the Veneto in the seventeenth and eighteenth centuries, open from August 31st at the Gallerie dell'Accademia, with the setting up of the Selva-Lazzari salons on the ground floor. The opening was attended, among others, by the Minister of Culture Dario Franceschini and the President of Veneto Luca Zaia.
Through 63 works, mostly never exhibited, the Galleries offer an unexpected image of a Venice (and a region) that in the field of art have been able to go beyond the glories of the Renaissance, by Giorgione, Carpaccio, Tiziano or Tintoretto , drawing strength from the arrival in the lagoon of "strangers", such as Giordano, Pietro da Cortona (Daniele in the lions' den) or the Florentine of origin Sebastiano Mazzoni, with "Massacre of the Innocents", a work just acquired by the State.
If the renovated room 5 looks to the seventeenth century, room 6 is a triumph of the variegated Venetian production in the century of the Enlightenment, alongside the most famous landscape painters. The biblical scenes, the gigantic Tiepolo, are thus flanked by high expressions of the landscape or the small but surprising interior skits by Pietro Longhi. The director Giulio Manieri Elia, speaking of an "extraordinary day", highlighted the close relationship that binds the Gallerie dell'Accademia and the lagoon city, recalling that "it is the museum of Venice where there is all the history of the local pictorial school. and Venetian from the thirteenth to the nineteenth century ". Not a small detail, a call taken by many since in the hardest year of the pandemic the presence of "local" visitors has significantly increased. During theinauguration of this new step in the recovery and rearrangement path of the Gallerie dell'Accademia which should end in 2022 with interventions in the rooms on the first floor - thanks to an effective public-private relationship - the support of Venetian Heritage (over half million euros), and financing for the restoration of the works by Intesa Sanpaolo, Borsa Italiana as well as the Ministry of Culture, of the new lighting system offered by iGuzzini. Elements that led Franceschini to recall the concept of the challenge for the "restart" that Italy is carrying out in "safety" after the most difficult period of the pandemic.The Academy which should end in 2022 with interventions in the rooms on the first floor - thanks to an effective public-private relationship - was recalled the support of Venetian Heritage (over half a million euros), and the funding for the restoration of the works by Intesa Sanpaolo, of Borsa Italiana as well as of the Ministry of Culture, of the new lighting system offered by iGuzzini. Elements that led Franceschini to recall the concept of the challenge for the "restart" that Italy is carrying out in "safety" after the most difficult period of the pandemic.The Academy which should end in 2022 with interventions in the rooms on the first floor - thanks to an effective public-private relationship - was recalled the support of Venetian Heritage (over half a million euros), and the funding for the restoration of the works by Intesa Sanpaolo, of Borsa Italiana as well as of the Ministry of Culture, of the new lighting system offered by iGuzzini. Elements that led Franceschini to recall the concept of the challenge for the "restart" that Italy is carrying out in "safety" after the most difficult period of the pandemic.and funding for the restoration of the works by Intesa Sanpaolo, Borsa Italiana as well as the Ministry of Culture, of the new lighting system offered by iGuzzini. Elements that led Franceschini to recall the concept of the challenge for the "restart" that Italy is carrying out in "safety" after the most difficult period of the pandemic.and funding for the restoration of the works by Intesa Sanpaolo, Borsa Italiana as well as the Ministry of Culture, of the new lighting system offered by iGuzzini. Elements that led Franceschini to recall the concept of the challenge for the "restart" that Italy is carrying out in "safety" after the most difficult period of the pandemic.
