The Gallerie dell'Accademia celebrate the bicentennial with four new acquisitions – Venice

Giorgio Vasari, La Speranza Detail, 1542, Oil on panel, 178.4 x 79.4 cm, Former Palazzo Corner Spinelli, Venice | Courtesy of Photographic Archives GAve on concession of the Ministry of Cultural Heritage and Activities, National Museum Galleries of the Academy of Venice

Venice – The Gallerie dell'Accademia celebrate the bicentennial of the first public opening of the Museum giving to its guests four great masterpieces recently acquired thanks to the Ministry of Cultural Heritage and Activities and Tourism, to the collaboration of Venetian Heritage and Venice in Peril Fund.
After the celebration of the Last glory of Venice the "countercurrent" exhibition dedicated to the genius of Canova, Hayez, Cicognara, the monumental complex housed in the prestigious headquarters of the Great School of Santa Maria della Carità, adds to the already rich collection of Venetian and Venetian paintings the works of four illustrious guests.

The first is La Speranza of Giorgio Vasari . The master arrived in Venice in 1541 and thanks to the interest of the architect Sanmicheli won the commission of some paintings destined to the ceiling of a room in Palazzo Corner. At the end of the eighteenth century this ceiling was dismantled and the compartments went to enrich the international antiques market and then purchased by the State from 1987. From January 26, the Gallerie dell'Accademia will be presented to the public, awaiting the final project that will be returned to Venice. , and precisely one of the galleries' rooms, the project as originally conceived.

To enlarge the Venetian collection will be the canvas – actually a fragment of a larger composition of oval format – of the Parable of the wedding banquet represented by Bernardo Strozzi . The Genoese artist staged the punishment imparted by the sovereign to him who presents himself at the banquet without wedding dresses, one of the most significant episodes of the Gospel parable told by Matthew.
The great telero was originally kept in the church of Ospedale degli Incurabili in Venice and its iconography can be rebuilt starting from the preparatory sketches, now in the Uffizi and the Genoa Academy of Ligustica.

Third "new entry" will then be the self-portrait of Pietro Bellotti as Stupore, one of the most singular and evocative inventions of the vast production of the artist specialized in the realization of half figures, reproduced with vivid realism and posed in the most expressions various, as if to translate the different motions of the human soul.

Finally we can admire the eighteen preparatory sketches of The destruction of the temple in Jerusalem by the Venetian Francesco Hayez – a long-gestation work, but welcomed by critics with great honors – offering the opportunity to shed light on the method used by the artist, thus reconstructing the creative genesis of the work.

Read also:

• Cicognara, Hayez and Canova: the triad of rebirth

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