“I tried to follow Mariano Fortuny’s creative spirit, especially by looking at some of his ornaments, like the famous Silk lamps”. The installation “GELATINA LUX” created by Maria Grazia Rosin doesn’t display lamps but skillfully crafted glasses hanging from the ceiling. Their arrangement might (...)

Enormous silhouettes: stretched and curled female nudes, so violent and real. Bodies as faces, the color of flesh and its the decay. Luigi Tito (1907-1991) is a painter of the human body; he takes its graphic expression to the limits. His gestures are instinctive, unmediated, close to reality. (...)

Finally after Paris and New York the great exhibition about the links between Serenissima and Islam arrives in Venice. The relationship is recounted through the display of marvellous and sophisticated object d’art – from paintings to glass, porcelain and metal, textiles and printed materials – (...)

Claiming unfelt affiliation, loosing one’s own truth running after successful clichés, dazed by comfortable excitement in the attempt to reach easy success at any cost. Guido Cadorin (1892-1976), one of the most elegant and original Venetian painters of the nineteenth century managed to escape (...)

A winged woman, thoughtfully crouched down, surrounded by mysterious objects. The gloomy, saturnine look of the Melancholy I; the most famous and “contagious” of the engravings by Albrecht Durer. A small piece of paper with an incredible density as to symbols and details. The title is inscribed (...)

Tiepolo the airy, the unsubstantial. A volatile spread of pink-greyish clouds, a blaze of flesh without gravity. He is theatrical, celebrating ephemeral triumphs, fragrant. He spent all his life working on commission in churches, palaces and villas. Sometimes he frescoed immense ceilings. (...)

Jean-Paul Sartre arrives in Venice in 1933; he immediately finds a dark and aenigmatic figure that will obsess him for a long time: Tintoretto. Or better said, what of him comes out of his paintings. It will be a long and feverish hatching. A slow process that will bring him to assault the (...)

At half of the sixteenth century, the Senate of the Serenissima Republic had planned to remove the by that time damaged fresco “Incoronation of the Virgin”, painted in the year 1367 for the Major Council hall, and to replace it with a new work of art (a canvas this time) by a famous contemporary (...)