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The Frick Collection will present Veronese in Murano: Two Venetian Renaissance Masterpieces Restored, a focused exhibition, organized by Peter Jay Sharp Chief Curator Xavier F. Salomon, on two recently conserved and rarely seen paintings by the celebrated artist Paolo Veronese (1528-1588), Saint Jerome in the Wilderness and Saint Peter Visiting Saint Agatha in Prison. While the paintings are known to scholars, their remote location in a church in Murano, an island in the lagoon of Venice, has made them difficult to study. The exhibition will provide a unique opportunity for an international audience to discover these two masterpieces in New York.
Catalog of the exhibition "Veronese: magnificence in Renaissance Venice" held March 19-June 15, 2014 at the National Gallery, London.
This book is an introduction to the vernacular (or "minor") architecture of the villages of the Venetian lagoon, excluding the historic centre of the city itself. It is intended as a companion volume to Dr Goy's "Chioggia and the Villages of the Venetian Lagoon".
The exhibition celebrated two Paolo Veronese paintings from the church of san Pietro Martire in Murano. The paintings have been restored by Venetian Heritage with the generous support of Bulgari. The large canvases showing Saint Jerome in the Desert and Saint Agatha Visited in Prison by Saint Peter were commissioned by Francesco degli Alberi, the priest of the church of Saint Mary of the Angels in Murano, and painted by Veronese in 1566. They were originally held in the private chapel built alongside the church on the priest?s orders. In 1667 the paintings were relocated to the nearby church of Saint Mary of the Angels. The very elaborate frames in gilded wood were most likely sculpted around this period. The church was deconsecrated during the French occupation at the beginning of the 19th century, and some of the works kept there were transferred to the neighbouring church of San Pietro Martire. The paintings and the frames were in a poor state: the heavy over-varnishing applied over the years had darkened, making it difficult to appreciate Veronese?s brilliant colours, while the gilt was peeling off the frames, leaving visible gaps. The restoration has successfully brought back to life these two 16th century masterpieces of Venetian painting. 00Exhibition: Gallerie dell'Accademia, Venice, Italy (12.03 - 17.09.2017) / The Frick Collection, New York, USA (24.10.2017 - 25.03.2018).
Norbert Huse and Wolfgang Wolters provide the first contemporary single-volume survey of the three arts of Venice -- painting, sculpture, and architecture. They offer an important counterbalance to the traditional orientation toward painting as the city's preeminent art by focusing on architecture as the essential Venetian artistic medium. In the process, they define the distinctly Venetian terms by which the city and culture should be understood. Huse and Wolters begin their study with 1460, when Venice was one of the key powers of Italy, and end their discussion with the death of Tintoretto in 1594, a period of waning international power. Wolfgang Wolters outlines the city's development and present a typological survey of Venetian architecture. A review of sculptors and their works follows. Norbert Huse opens the next section, on painting, by describing the changed situation of painters at the end of the fifteenth century. He explores the different forms and functions of Venetian paintings in three distinct periods. With over three hundred illustrations and an exhaustive bibliography, this volume successfully fills a gap in art historical scholarship. -- From publisher's description.