Page 139 - (DK Eyewitness) Travel Guide - Venice & The Veneto

A C C ADEMIA  137

the first of a series of works
painted for the Scuola Grande di
San Marco (see p118). In the same
room, Veronese’s use of rich
colour is best seen in the Mystical
Marriage of St Catherine (c.1575).

The Rape of Europa (1740–50) by Francesco
Zuccarelli (detail) Healing of the Madman (c.1496) by Vittore Carpaccio
Gentile Bellini, it is possible to
compare the square with how Sala dell’Albergo
Baroque, Genre and it looks today. When the Scuola della Carità
Landscapes
Another, Vittore Carpaccio’s became the site of the Academy
Venice suffered from a lack of Healing of the Madman (c.1496), of Art in the early 19th century,
native Baroque painters, but a shows the Rialto Bridge which the Scuola’s albergo (where
few non-Venetians kept the collapsed in 1524. students lodged) retained its
Venetian school alive in the The second series, minutely original panelling and 15th-
17th century. The most notable detailed Scenes from the Legend century ceiling. The huge
among these was the Genoese of St Ursula (1490s) by Carpaccio Presentation of the Virgin (1538) is
Bernardo Strozzi (1581–1644). in Room 21, provides a brilliant one of the surprisingly few Titians
The artist was a great admirer of kaleidoscope of life. in the gallery. The walls are also
the work of Veronese, as can be adorned with a grandiose
seen in his Feast at the House of Masterpieces triptych (1446) by Antonio Vivarini
Simon (1629) in Room 11. Also and Giovanni d’Alemagna.
represented in this room is Room 23 brings together some
Giambattista Tiepolo, the of the most famous master­
greatest Venetian painter of pieces of the collection. These The downstairs galleries
the 18th century. include Andrea Mantegna’s The opening of the downstairs
St George (c.1460), Bellini’s galleries in 2015 was the first
Madonna of the Little Trees stage of an ambitious expansion
Ceremonial Paintings
(c.1487), and Giorgione’s famous plan. These inter active galleries
Rooms 20 and 21 return to the Tempest (c.1507). The inventive present the art of the 17th, 18th
Renaissance, featuring two young Giorgione was and 19th century, grouping
great cycles of paintings from influenced by Bellini, but around themes such as Venetian
the late 16th century. The detail went way beyond portrait artists and
in these large-scale anecdotal his master. In the 17th-century
canvases provides a fascinating atmospheric collections. There
glimpse of the life, customs and Tempest, this are rooms devoted
appearance of Venice at the treatment of the to the work of
time. Room 20 houses The landscape and Hayez, Canova
Stories of the Cross by Venice’s the use of the and Palladio, while
leading artists, commissioned figures to intensify a room on ceiling
by the Scuola di San Giovanni that mood was paintings includes
Evangelista (see p108). Each one an innovation a masterpiece
depicts an episode of the relic adopted in by Veronese.
of the Holy Cross, which the Venetian paint ings
kingdom of Cyprus donated of the 16th Detail from Titian’s
to the Scuola. In The Procession century and Presentation of the
in St Mark’s Square (1496) by well beyond. Virgin (1538)

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