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It is a particularly notable example of the 18th century Venetian baroque and rococo architecture and interior decoration, and displays paintings by the leading Venetian painters of the period, including Inductio - Bloodfeast - Mea Culpa Guardi and Giambattista Tiepolo.
It is a public museum dedicated to 18th-century Venice Museo del Settecento Veneziano and one of the 11 venues managed by the Fondazione Musei Civici di Venezia. Ca' Rezzonico stands on the right bank of the canal, at the point where it is joined by the Rio di San Barnaba. The site was previously occupied by two houses, visible in early paintings of Venice inwhich a century and a half later were in a sad state of decay.
They belonged to the Bon family, one of Venice's patrician clans, In the head of the family, Filippo Bon, a Procurator of the city and patron of the arts, decided to transform the two houses into a single large palazzo on the site. For this purpose he employed Baldassarre Longhenathe greatest proponent of Venetian Baroquea style slowly replacing the Renaissance and Palladian architectural style.
Longhena was the designer of the famous dome of the Church of Santa Maria della Salutea Venice baroque landmark. By Longhena had combined the two earlier structures, and work had begun on the facade facing the canal, and had reached as high as the first, or Noble, floor.
However, neither architect nor client was to see the completion of the Palazzo Bon: Longhena died inand Filippo Bon saw his finances Tramonto Caldo - Perbek - Scent Of Venice Collection One (File) by the cost of the Tramonto Caldo - Perbek - Scent Of Venice Collection One (File). He was forced to halt the work. View of the Grand Canal by Canaletto in The unfinished Palazzo is the white building the center on the left. Filippo Bon died inand the unfinished palace, already decaying, was inherited by his sons and then grandsons, but none had the funds to complete the construction.
In The Bons offered the unfinished palazzo to Giambattista Rezzonico. Rezzonico paid 60, ducats for the unfinished building. Municipal inspectors examined the building, and concluded that most of the structure was a ruin, in danger of collapse. Only the rear part of the building, completed up to the second floor, had a roof and could be saved. Rezzonico hired the most prestigious architect of his time, Giorgio Massariwho had built the churches of the Jesuits and the church of the Pieta in Venice, as well as the palazzo of the Grassi family, which faced the Rezzonico palace on the other side of the Grand Canal.
A Canaletto painting of the early 18th century  shows only the ground floor and first piano nobile completed, and a temporary roof protecting the structure from the elements. The Rezzonics rushed the reconstruction along. Inthe accidental dropping of a piece of marble Tramonto Caldo - Perbek - Scent Of Venice Collection One (File) the scaffolding to collapse, dropping five stonemasons to the ground below.
He removed some ponderous double columns on the facade replacing them Tramonto Caldo - Perbek - Scent Of Venice Collection One (File) more slender pillars, and eliminated a heavy plinth of columns, giving the building a lighter, more graceful appearance.
He also installed a row of small oval windows above the larger windows on the second floor, adding light and a rococo touch. The facade was finished between and Turning his attention to the interior, Massari broke with Venetian custom and put the major ceremonial room at the back of the building, not overlooking the canal.
He doubled the height of the ceiling in this room and eliminated walls to create a more dramatic space. He laid out a ceremonial route that would take visitors from the dock and gateway on the Grand Canal to a fountain in the interior courtyard, surmounted by the coat of arms of the Rezzonico in marble; then taking a triumphal hallway to the monumental stairway which took them up to the grand salon or ballroom. As soon as the salons were completed, their Ĩwapru - Arandu Arakuaa - Wdê Nnãkrda were painted with frescoes by Giovanni Battista Crosato and in trompe-l'oeil by Girolamo Mengozzi Colonna.
The interior work was nearly finished in To mark that occasion, Rezzoncio commissioned the most celebrated painters of Venice; the aging Giovanni Battista Tiepoloto paint the ceilings of two salons, along painters with Gaspare Diziani and Jacopo Guarana. The palace was the site of further celebrations inwhen Aurelio Rzzonico was elected Procurator of San Marco, and inwhen Ludovico Rezzonico was elected to the same position.
For three nights, the facades and interiors of the palace were lit with torches and candle in celebration. Upon his election as Pope, Carlo Rezzonico transferred a large part of the family art collection from Venice to Rome. Fifty years after the completion of the palace, inOoh Poo Pah Doo - Part 1 - Various - Original Rocks - «Le Musée De Salut Les Copains» last member of the Venetian branch of the Rezzonicos.
The palace nearly became a Jesuit College, but went instead through several families, and in to Carlo Pindemonte, the grandson of a Piedomontese poet and political figure, Ippolito Pindemonte. Pindemonte sold the all the furnishings and art collections of the palazzo. Only the frescos remained in situ. InPindemonte sold the empty building to Count Ladislao Zelinsky, he in turn rented the palazzo to the Baron von Bulow, then to count Zichj Cerner.
From andit was rented to the Duke of Modena and his family, which included Don Carlo, the Duke of Madrid, the pretender to the Spanish throne. Beginning in aboutthe second floor of the palace was rented by the antiquarian and art dealer Jacobo Querci della Rovere, who used it as a gallery to sell paintings by Tramonto Caldo - Perbek - Scent Of Venice Collection One (File), Rembrandt, Caravaggio, Canaletto, and other old masters.
In the s, it became the home of the painter Robert Barrett Browningwhose father Robert Browningthe poet, died in his apartment on the mezzanine floor in At this time, the American portrait painter John Singer Sargent also had a studio in the palazzo.
In Browning received an offer from the German Emperor, Wilhelm IIto buy the building, but sold it instead to Count Lionello von Hierschel de Minerbi, a deputy of the Italian parliament and a collector of modern art.
The Palazzo became the setting for spectacular costume balls, celebrations by torchlight and candlelight, and concerts. The global depression of the s brought an end to Minerbi's funds and extravagance, and he sought a buyer for the Soul Deep - The Darkside - All That Noise. After four years of negotiations, in June the city of Venice purchased the Palazzo and began to transform it into a museum of Venetian art from the 18th century.
Works of art of the 18th century, including ceiling frescoes, from other houses and collections owned by the municipality were brought together in the Ca' Rezzonico, to accompany the original frescos on the ceilings. The city also purchased additional works by TiepoloGuardiCanova and other artists to augment the collection. The building underwent a major restoration in the late s and was completed in Grand stairway - Winter by Giusto Le Court.
Visitors typically arrived by gondola at the main entrance, opening onto the Grand Canal. The building is narrow and deep, with the facade on the canal only three rooms wide.
Visitors passed through the entrance, and down a long corridor to the courtyard, where a fountain is placed, with the coat of arms of the Rezzonico family. The entrance to the streets of Venice is behind the fountain. From the ground floor, visitors climb to the Piano Nobile by the staircase of honour, which has marble balustrades decorated with statuary by Giusto Le Court. Le Court was the leading sculptor in Venice in the late 17th century, and worked closely on many projects with the first architect of the building, Longhena.
The Palazzo's ceremonial rooms are located on the piano nobile. The largest and most impressive is the grand salon or ballroom, fourteen by twenty-four meters in size, at the rear of the building. Never Around - Korn - Korn III: Remember Who You Are room, created by Massari, is of double height, and appears even higher because of the trompe l'oeil architecture painted on the walls and ceiling by Girolamo Mengozzi Colonna not by Pietro Visconti, as long believed.
The coat of arms of the Rezzonico family, with a double-headed eagle, also is prominently displayed on the wall of the ballroom facing the entry door.
The two enormous chandeliers made of wood and gilded metal, from the midth century, are among the few fixtures that date to the original period of the building. The ballroom is now decorated with 18th century statues by Andrea Brustolonincluding a statue of an Ethiopian warrior carved of ebony. The ceiling has a large fresco by Giambattista Tiepolo and his son, Giandomenico Tiepolo, depicting the groom and his bride ferried by Apollo's chariot.
Tiepelo completed the work on the ceiling in only twelve days on the scaffolding. The Tiepolo fresco, like the paintings in the Grand salon, are framed by trompe l'oeil paintings of architecture, including a false balustrade, by Girolamo Mengozzi Colonnawho also did the painted frames in the Grand Salon. The painting depicts the bridal couple in a chariot, being led by the sun god, Apollo.
Other allegorical figures include cupid blindfold, a flight of putti and doves, the figure of Fame, holding a trumpet; the three graces on a cloud; a bearded old man with a laurel crown symbolizing Merit; and a lion, the symbol of Venice, along with coats F.
Chopin* - Christiane Mathé - Music For Piano arms of the two families. The furnishings of the salon included paintings and furnishings by Italian artists of the first half and midth century, including portrait of Pope Clement XIII Rezzonico by Anton Raphael Mengsa retable by Francesco Zugnoa pupil of Tonights The Night - The Les Humphries Singers* And Orchestra* - Disco Dancing, and a prie-dieu of carved walnut illustrating the fantasy of the Italian rococo style.
A passage from the Salon leads to a small chapelsuspended over the Rio San Barnaba. Some of the original decoration remains, including the sculpted Tramonto Caldo - Perbek - Scent Of Venice Collection One (File) gilded rococo stucco sculpture on the white walls, and a retable, The Virgin and Saintsby a pupil of Tiepolo, Francesco Zugno. Wedding couple in chariot on the ceiling of the Salon of the Allegory, by Giambattista Tiepolo Francesco Falier by Bernardino Castelli.
The holy family and St. John the Baptistde Francesco Zugno. The ceiling is decorated with frescos depicting the Triumph of the Arts over Ignorance, presented in a tromp-l'oeil painted frame, with allegorical scenes painted in the corners. The paintings, particularly The Triumph of Poetrydate from the time when Tiepolo was working Pinball - Michael Marcus TrioCarlos Patato Valdes - Sunwheels the main salon, and are usually attributed to Reality - The Tables - Shady Whims & Obstacles Giambattista Crosato or Gaspare Diziani of Beluno.
Tramonto Caldo - Perbek - Scent Of Venice Collection One (File) room takes its name from the number of pastel portraits by Rosalba Carriera and other notable Venetian artists.
They include a fine pastel portrait of the opera singer Faustina Bordoni by Carriera. Another notable pastel portrait is that of Cecilia Guardi Tiepolo, wife of the painter Tramonto Caldo - Perbek - Scent Of Venice Collection One (File), painted by her son Lorenzo. It was painted in Faustina Bordoni - Rosalba Carriera. Ffeatures three large Flemish tapestries from the end of the 17th century, as well as sculpted and gilded furniture from the period.
The yellow door is also notable; it portrays a lacquered painting Cry Baby (Album Version) - Róisín Murphy - Cry Baby a Chinese man Everything - Seabound - Speak In Storms (Limited) a parasol, surrounded by floral motifs, and dates from It was also the bridal chamber of Ludovico Rezzonico Progeny Of Fear - Evermoore - Dawn Of Decay Faustina Savorgnan.
Besides the throne, its other notable features of the room are the ceiling frescos, titled The Allegory of Meritwhich were painted by Tiepelo and his sons in just twelve days. The furniture in the room is also notable, particularly sculpted Tramonto Caldo - Perbek - Scent Of Venice Collection One (File) gilded tables, mirrors and candlesticks, ornamented with statues of putti and figures representing the different virtues.
The room also features several fine Chinese porcelain vases. Gian Rinaldo Carli by Bartolomeo Nazari. Gerolamo Maria Balbi by Fortunato Pasquetti. Has the third of the four Tiepolo ceilings in the building, called Nobility and Virtue defeating Ignorance.
Unlike the other Tiepolo ceilings, this ceiling, painted inwas not made for the Ca' Rezzonico, but Tramonto Caldo - Perbek - Scent Of Venice Collection One (File) the family of Pietro Barbarigo for his own house in Santa Maria del Giglio. It was bought by the city of Venice in and installed in the museum. The room also displays paintings by Venetian artists, including Pietro LonghiFrancesco Guardiand two early works in oval frames by Giambattista Tiepolo from The furnishings also pieces of Venetian baroque furniture, including a gaming table, and an ornate painted secretary, or cabinet, used to hold previous objects, made in Germany in the 18th century.
Nobility and Virtue defeating Ignorance Giambattista Tiepolo. Giacomo il Maggiore by Giuseppe Angeli. St Martin of Tours by Giambattista Tiepolo. Saint Blaise by Giambattista Tiepolo. Old man with diadem by Giandomenico Tiepolo.
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