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Ca' Rezzonico Fondazione Musei Civici di Venezia — Ca’ Rezzonico Museum of the 18th Century Venice The Ferruccio Mestrovich Collection ENG da ballo MEZZANINE BROWNING / THE FERRUCCIO MESTROVICH COLLECTION Canal Grande The Collection The collection contains a nucleus his assets were confiscated by of sixteen paintings, all of high the Yugoslav government and never quality. returned. There are two major works by His son Audace worked for many Iacopo Tintoretto, an altar-piece of years in Venice as a lawyer. striking intensity and an austere His youngest son, Ferruccio, portrait. Particularly noteworthy a passionate scholar of early is a glowing and intimate “Sacra Veneto painting, is the donor of Conversazione” by Bonifacio de’ this collection: the attributions of Pitati; in addition, there are other the paintings are the result of his works by Benedetto Diana, Lelio research and studies; indeed, his Orsi, Jacopo Amigoni, Francesco suggestions and indications have Guardi and Alessandro Longhi, two assisted several scholars on many “soprarchi” (paintings above an occasions in the publication of his arch) by Benedetto Carpaccio, son paintings and other collections. and follower of Vittore and a small panel by Cima da Conegliano. The Mestrovichs belong to an ancient Dalmatian family originally from Zara and have lived in Venice since 1945. The head of the family, Aldo (1885-1969) was persecuted during the Austrian rule for his Ca’ Rezzonico, The Ferruccio Mestrovich Collection Italian patriotism; > 1 1. Benedetto Diana section of the polyptych frieze in the ITINERARY AND (Venice, 1460 ca. – 1525) San Francesco convent church in WORKS OF ART Christ Benedictory Miglionico, near Matera, taken there (oil on wood, 60 x 52,5 cm) at the end of the 16th century after being purchased in Venice by Don It’s a very interesting work of art Marcantonio Mizzoni. Indeed, the which highlights how the young correspondence between the pictorial painter had carefully considered writing, the modelling of the slumped the most recent inovations of the body and even the face and thick venetian painting: he works of Bellini, head of hair are quite astounding. obviously, but also those of Antonello The polyptych was painted in 1499, da Messina and Carpaccio. In this as shown by the date inscribed next sense, a very interesting comparison to the painter’s signature on the may be made with the signed image base of the central panel, and the of Christ Benedictory painted by perfect similarity of style in the two Diana at the end of the century and works allows the Venetian panel to be now in the National Gallery, London: confidently dated to the same period. there are significant similarities in the — arrangement of the figures – evidently 4. Bonifacio De’ Pitati derived from the layout popularised in (Verona, 1487 – Venice, 1553) Venice by Antonello, in the attention to Holy Conversation the precise rendering of every detail (oil on wood, 86 x 139 cm) according to northern traditions; and in the use of a low light similar to that The holy conversation was one of of Carpaccio and Bellini. Bonifacio’s favourite themes and one — he repeated several times: in all these 2. Benedetto Carpaccio paintings the characters, typologically (Venice, ante 1500 – Capodistria, post clearly defined, are always portrayed in 1560) a calm, serene atmosphere, engrossed Announcing Angel and Announced in a silent conversation of gestures and Virgin looks which enhances the mysticism (oil on canvas, 99 x 103 cm each) of the figuration. The painter achieves this tranquil world by highly personal The close reference to the stylistic formal means, through a simple and figurative models of his father but fairly lively play of colours and (Vittore Carpaccio) are evident in perfectly balanced composition. these paintings: in particular, the figure — of the Announced Virgin derives from 5. Jacopo Tintoretto a pictorial model by Vittore, also used (Venice, 1519 – 1594) by Palma il Vecchio in the panel now Christ taken down from the Cross in Berlin. The chromatic range played supported by St John and Mary out on dark tones is also noteworthy, Magdalene in the presence of two along with the use of low lighting which Donors enhances the clarity of the figure and (oil on arched canvas, 140 x 70 cm) of the clothing. — The altarpiece was evidently intended 3. Giambattista Cima da Conegliano for the small private chapel of a Giambattista Cima da Conegliano, Dead Christ, oil on wood (Conegliano, 1459/60 – 1517) family whose members are shown Dead Christ in the painting. It is important to (oil on wood, 22 x 15,5 cm) underline the exceptional quality of the pictorial execution and the This small painting in oil on wood was stupendously effective portrayal originally the tabernacle shutter for of sentiment. Jacopo is extremely an altar in an unknown church. Small skilled in overcoming the restrictions images of religious subjects are not created by the forced dimensions of rare in Giambattista Cima’s pictorial the painting. He here gives particular catalogue; the theme of Dead Christ relevance to the now lifeless body of in particular was attempted several Christ, slumped forward, almost on times by the painter. The pictorial the diagonal, and this allows him to characteristics of the small work are insert the figures of the donors and of a notable level. The comparison that of the Magdalene on the right, with another work of the same subject offering excellent proof of his splendid painted by Giambattista that is portraitist skills. Jacopo Tintoretto, Portrait of Francesco decisive in attributing the Mestrovich Gherardini, oil on canvas panel to his catalogue: the central > 2 6. Jacopo Tintoretto 9. Jacopo Amigoni (Venice, 1519 – 1594) (Venice, 1682 – Madrid, 1752) Portrait of Francesco Gherardini Portrait of a Young Woman (oil on canvas, 70 x 60 cm) (the “debutante”) (oil on canvas, 108,5 x 84 cm) Gherardini is shown at a later stage of life, at the age of 70, in the Mestrovich — portrait. The still imposing figure, 10. Jacopo Amigoni dressed in black velvet with crease- (Venice, 1682 – Madrid, 1752) edges defined by brisk highlights Portarait of Lady of whitening, emerges with great (oil on canvas, 109 x 85,5 cm) vividness and firm plasticity from the neutral background in keeping These two paintings of the same size with Jacopo’s typical portrait style, and stylistic character were formerly Francesco Beccaruzzi, St Francis, oil on canvas particularly that of the 7th and 8th part of a private Tuscan collection. decades. The description of the nly one of them – that of the younger features on the contemplative face lady – is mentioned in literature, are meticulously precise and rendered having been published by G.M. Pilo with a warm colouring, underscored in 1958 with the title ‘Portrait of a and highlighted by the ‘appeal’ of the Debutante’.; And it goes without saying white pleated collar emerging from the that this must also be extended to its dark clothes. pendant, which has identical qualities. — — 7. Francesco Beccaruzzi 11. Alessandro Longhi (Conegliano 1492 ca. – 1563) (Venice, 1733 – 1813) St. Francis Portrait of Giuseppe Chiribiri (oil on canvas, 192 x 125 cm) (Cherubini) (oil on canvas, 83,5 x 65 cm) Nothing is known about the origin of this altarpiece, which was part of The portrait carries an 18th century Lelio Orsi, Adoration of the Sheperds, the rich collection belonging to the inscription on the back of the original oil on wood Caregiani family of Venice ab antiquo. canvas (‘Ritratto dell’ Ab.e / Giuseppe Attribution of this fine example of Di / Cherubini / Alessandro Longhi expressive precision to Francesco / Agosto 1779’) which, beyond the Beccaruzzi is based on the similarity quite convincing stylistic evidence, of stylistic features to other works certifies the identity of both artist and unanimously referred to the Treviso subject, and the date of the work. The painter. More simple comparisons portrait of Giuseppe Chiribiri, with its between the pictorial execution of exceptional pictorial quality, is marked the Mestrovich altarpiece and that by the brightness and richness of in Conegliano (alxay belonging to the colour and the elegance of the Beccaruzzi) are also significant and conformation. absolutely compelling:the lengthened — unfolding of St. Francis’ habit is 12. Francesco Guardi repeated almost exactly in that of St. (Venice, 1712 – 1793) Antony. Despite being caught from Madonna vestita opposing views, these two figures (oil on canvas, 100 x 82 cm) can be virtually superimposed. In both paintings the sky is crossed by The painting by Francesco Guardi thin, fairly bright, horizontally-moving portrays a Madonna, richly dressed clouds, while the treatment of the in 18th century fashion, crowned and foliage is identical. carrying a rosary in her left hand. The — Child, also carrying a rosary, is similarly 8. Lelio Orsi crowned and dressed as a young (Novellara, 1508 ca. – 1587) scion of the highest Venetian society Adoration of the Sheperds of the time. The pictorial quality of the (oil on wood, 52,5 x 35,5 cm) canvas is considerable, most of all the painting of the details of the rosaries The quality of the painting is intensified is particularly exquisite, done with by the brilliant chromatism that almost the brush tip using very bright paint, makes the figures – most of which in a style reminiscent particularly of are caught in Manneristically dynamic Francesco’s elder brother, Antonio, his poses – leap out, with a recurring early teacher. use of ‘contrast’ with the ‘false night’ setting. > 3 13. Ubaldo Gandolfi appears in a scroll in box number 4, (San Matteo della Decima, 1728 – under a noble coat of arms that is Ravenna, 1781) presumably invented, given that it has St. Jerome meditating on the no reference to Veneto nobility. This Crucifix(oil on canvas, 117 x 96,5 cm) is an otherwise unknown artist, but one who was certainly gifted with a The iconographic elements typical of delightful popular streak and pleasant the saint are reduced to the minimum colouring skills.
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