An absolute masterpiece – “Susanna and the elders” – is opening this issue in October. It is the tribute we wish to offer together with the whole city to a great master, Jacopo Robusti, named the Tintoretto, an undisputed genius of the Venetian Renaissance. This occasion is important: a celebration of the artist’s 500th birth anniversary (1519), which Venice has decided to mark through its City Museums Foundation, with an important project shared with two other prestigious institutions, the National Gallery of Art in Washington (co-producer of this event) and the Galleries of the Accademia in Venice.
Thus, two (three with the one which will follow next March in Washington) great exhibitions that we should like to rank among the unmissable ones, at least for art lovers.
In addition to his grand cycles – visible in the original location where they were painted between 1564 and 1592 at the Ducal Palace, the seat and symbol of the ancient Republic of Venice, inside the Doge’s Apartment – fifty paintings and twenty signed drawings from great international museums are being displayed, artworks illustrating the extraordinary skills of this artist who was able, through his visionary painting, to challenge and even innovate the grand tradition of that age.
It is flanked by a splendid exhibition by the Galleries of the Accademia, presenting the painter’s initial decade of activity from 1538, the year in which his first work was documented in 1548, the date of one of the iconic paintings by the artist, “The miracle of the slave”, now part of the museum’s collection. Titled “Young Tintoretto”, it features 26 paintings by the artist over a chronological circuit in four sections, accompanied by about thirty works by coeval or previous authors such as Titian, whose extraordinary Supper at Emmaus from the Louvre is on display. In addition to the splendid cycle at the Scuola Grande at San Rocco, the TINTORETTO 500 project is completed by two more exhibitions in town: “The Venice of Tintoretto” at Palazzo Mocenigo, with ancient artefacts and precious garments illustrating the 16th century city, and by “Art, faith and medicine in the Venice of Tintoretto” at the Scuola Grande at Saint Mark.
An itinerary presented in a fine print representing the city map will also guide visitors along the locations that the artist used to frequent in town.
The Tintoretto event is accompanied this month by many other opportunities, in the exhibition ambit, and beyond. For instance there is the International Architecture Exhibition presented by the Biennale; there are two large contemporary art showcases at Palazzo Grassi and Punta della Dogana; there is a solo exhibition on Licini at the Peggy Guggenheim and many further ones, presented by the major institutions in town.
The Music scenario is represented, in addition to the Season at La Fenice and the International Contemporary Music Festival of the Biennale; by the J. Offenbach and Light Music Paris Festival promoted by the Research Centre at Palazzetto Bru Zane and by the traditional Galuppi Festival. The month also features the Prose Season at the Carlo Goldoni Resident Theatre with The cherry orchard by Chekhov, a play presented by one of the great masters of European theatre and cinema, Andrey Konchalovsky.
Finally, sport, with two classic rendez-vous. Differing in their structure and characteristics, they both share passion and scenic contexts: they are the Veleziana, a non-competitive sailing regatta and the VeniceMarathon, which will see their best moments within the scenario of Saint Mark’s basin, respectively on the Sundays of 21 and 28 October.