Museum of Venezia Palace
In the
rooms of the Cybo Apartment and in the premises of the Palazzo Venezia formerly
Viridarium of Paul II Barbo (1464/71), which was dismantled and moved in
1911 of about 100 m (330 feet)
Ceilings
1916 by Ludovico Seitz (1844/1908) in imitation
of the style of the sixteenth century
VESTIBULE
and ANTEROOM
“Bust of Pope Paul II” by the workshop
of Paolo Taccone aka Paolo Romano (about 1415/77)
Venetian
Paintings
“Double Portrait” about 1502 maybe by Giorgio Zorzi
or Giorgio da Castelfranco aka Giorgione (1477-78/1510)
Mysterious
and extremely beautiful painting where the light shines differently on the two
characters, creating an effect of almost photographic realism
The young
man in the foreground holds a wild orange bitter and sweet at the same time
that the Renaissance was associated with the sufferings and the joys of love
“Madonna
and Child” and “Head of a Young Woman” maybe by Antonio Pisano aka Pisanello (about 1390/about 1455)
The head of
a young woman maybe was part of the lost decoration of the Basilica of St. John Lateran
that Pisanello had carried out with Gentile da Fabriano in the first half of
the fifteenth century and which was destroyed during the works of Francesco
Borromini for the Jubilee of 1650
“Madonna
and Child” by Paolo Veneziano (active about
1320/62)
Emilia-Romagna
Paintings
“Crucifixion”
first half of 1400s by Stefano da Ferrara
There are
few biographical information regarding this painter and there is much
uncertainty in the attributions. In this painting the expressions of torment of
the faces are remarkable and innovative
“Christ
Carrying the Cross” by Bernardino Zaganelli
(about 1465/about 1511)
“Adoration
of the Magi” by Lorenzo Sabatini (about 1530/76)
“Pieta” about 1579 by Lelio
Orsi (1511/87)
“In this
work there are influences of Correggio's poetry, especially in the pathos
expressed by the figure of St. John the Evangelist, whereas the plasticity of
the body of Christ is livid expression of a strong influence by Michelangelo,
disseminated through engravings. Not to mention that from an elaboration of an
idea by Michelangelo, namely the Deposition for Vittoria Colonna, comes the
pose of Christ lying in the lap of the Mother” (Official website of the Museum
of Palazzo Venezia - www.museopalazzovenezia.beniculturali.it)
Lazio,
Umbria and Marche Regions Paintings
“Head of
the Redeemer” from an artist of the school of Pietro de' Cerroni aka Pietro Cavallini (about 1240/about 1325)
“Great
Painted Cross” from the church S. Tommaso dei Cenci
Processional
banner “Virgin Mary of Mercy” by the Master of Staffolo
Rooms
4 and 5 - Tuscan Paintings
“Marriage
of St. Catherine” by the Master of the Coronation of Christ Church
Small panel
“Prophet Hosea” by Gherardo di Jacopo aka Starnina
(active 1387/1409)
“Nativity”
end of 1400s by the school of Filippo Lippi and Pesellino
with a portrait of Lorenzo the Magnificent in the lower right
Remarkable “Head of the Redeemer” maybe by Benozzo di Lese aka Benozzo Gozzoli (1420/97), more probably by Fra'
Giovanni da Fiesole aka Fra Angelico (about
1395/1455), maybe from the destroyed Chapel of Eugene IV Coldumer (1431/47)
“Episodes
from the life of St. Catherine of Alexandria” by Bicci
di Lorenzo (1373/1452)
“Vision of
St. Bernard” by Francesco di Ubertino Verdi aka Bachiacca
(1494/1557)
“Madonna
and Child with Angels and Saints” by Mariotto di
Cristofano (1393/1457)
Paintings
on Canvas
Oldest and
largest part of the collection added in 1919 from the collection Ruffo of Motta
Bagnara:
“Marriage
of St. Catherine” by Ciro Ferri (1634/89)
“Dance of the Nymphs” 1725 by Donato
Creti (1671/1749)
“Restless
temperament, haunted by an almost obsessive anxiety for perfection, Creti
offers a varied range of expressive accents ranging from Veronese inclinations
to his own classicism sometimes full of mannerism moods, some other times
sublimated in purist formulas, almost neoclassical, largely ahead of its time.
This work is a significant blend of his experiences: the party atmosphere is
evoked with a Frenchified gallant grace, the traditional Arcadian landscape
here is imbued with a rediscovery of more refined ways of the Emilian
Mannerism, which give a more decanted and thin grace to this idyll” (Carlo
Bertelli, Giuliano Briganti, Antonio Giuliano)
“David and
Abigail” and “Finding of Moses” by Giuseppe Maria
Crespi known as the Spanish (1665/1747) from Bologna
“Dead
Christ” by Orazio Borgianni (1578/1616)
“The sons of
Francesco Orsini” 1597 maybe by Tiberio Titi (1578/1637),
the son of the painter Santi di Tito and official portraitist of the Medici
Grand Dukes
“Wedding at
Cana” by Francesco Solimena (1657/1747)
“Cleopatra” by Carlo
Maratta (1625/1713) who represented the Egyptian queen with the face of
his daughter Faustina as she dissolves a pearl in vinegar to prove her
indifference to luxury
“St. Peter weeping” by Giovanni Francesco
Barbieri aka Guercino (1591/1666)
Golden
terracotta “Baptism of Jesus” and “Terracotta bust of
Pope Innocent X Pamphilj (1644/55)” by Alessandro Algardi (1598/1654)
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