Venezia Unica Guide

Total Page:16

File Type:pdf, Size:1020Kb

Venezia Unica Guide Venezia Unica Guide A practical guide for the optimal use of your city pass Thank you for purchasing on veneziaunica.it 1. Save and print your voucher You must print it and take it with you in order to take advantage of the services you purchased. CITY PASS VOUCHER CON PNR CODE VOUCHER VOUCHER CITY PASS VOUCHER PASS CITY PASS CITY VOUCHER VOUCHER POINT * Please read the information provided on the voucher very carefully: it will give you specific instructions on how to use the services, and provide the links to print separate vouchers for the services that require them. 2. How to pick up the city pass CITY PASS VOUCHER CON PNR CODE VOUCHER VOUCHER CITY PASS VOUCHER PASS CITY PASS CITY VOUCHER VOUCHER POINT * In case of difficulty you can ask to Venezia Unica ticket offices and agencies. 3. Access to services CITY CITY PASS PASS VOUCHER CON VOUCHER CON PNR CODE PNR CODE VOUCHER VOUCHER VOUCHER VOUCHER CITY CITY PASS PASS VOUCHER VOUCHER PASS PASS CITY CITY PASS PASS CITY CITY VOUCHER VOUCHER VOUCHER VOUCHER POINT POINT 2 Treviso Airport TSF 1 Marco Polo How to get Airport VCE to Venice 6 San Giuliano Laguna Punta di Venezia Sabbioni 7 3 5 4 9 Venezia Lido 6 Terminal Fusina 8 Chioggia Pellestrina By plain 1 – Marco Polo VCE Airport 2 – Treviso TSF AIrport By train 3 – Santa Lucia Railway Station By car 4 – Piazzale Roma 5 – Isola del Tronchetto 6 – San Giuliano o Fusina 7 – Punta Sabbioni 8 – Chioggia By boat 9 – Terminal Crocieristico With public 4 – Piazzale Roma transportation 7 – Punta Sabbioni 8 – Chioggia How to get to Venice There are many ways to reach Venice. You can get there easily by plane, car and train. Venice is connected to the mainland (Venezia Mestre) by the Ponte della Libertà, a bridge 4 km long on which cars and trains travel to the city. The bridge leads to the Stazione Marittima Cruise Terminal, to the Tronchetto and Piazzale Roma car park terminals and by train to the Railway Station. Vehicles cannot enter Venice beyond these terminals, so visitors arriving by car must park and those arriving by train must alight at the Venezia Saint Lucia train station. Airport E Marco Polo D VCE Terminal C 3 i B 2 A 1 A Access A B Access B C Access C D Access D E Access E 1 Bus route No. 45 2 Bus route No. 5 Aerobus 3 Bus route No. 15 i Venezia Unica Ticket Office / Agency Self-service ticket machines / Venezia Unica Point Airport Marco Polo VCE Bus service to Venice: To reach Venice from the Venice Marco Paolo airport, take bus route No. 5-AeroBus, a 20-minute ride to Piazzale Roma, one of the main tourist terminals in Venice: from there the ACTV public transport waterbuses leave for the historic centre of Venice. Route 5-AeroBus departs from the bus lane located just metres away from the airport’s arrivals exit ‘B’. Airport Marco Polo VCE Bus service to Mestre: To reach the centre of Mestre and the Mestre railway station from the Venice Marco Paolo airport, take bus routes No. 15 or 45. These bus routes depart from the bus lane located just metres away from the airport’s arrivals exit ‘B’, adjacent to the AeroBus bus stop. Piazzale C D Stazione B S.Lucia Roma E F G i i P 3 1 2 Piazzale Roma B Route No. 4.2, 5.2 C Route No. 3 D Route No. 1 E Route No. 4.1, 5.1, 6 F Route No. 2 and N to Rialto via Canal Grande G Route No. 2 and N to S. Marco via Giudecca 1 Bus and tram terminus 2 People Mover 3 Park i Venezia Unica Ticket Office / Agency Self-service ticket machines / Venezia Unica Point Terminal Piazzale Roma When you drive to Venice and park your car at Piazzale Roma, it is a very short walk to the Actv landing stages from which the main public transport waterbus routes depart in all directions and for all destinations, along the Grand Canal or down the Giudecca Canal - or along the outer edges of the city (the outer circle waterbus routes). The landing stages at Piazzale Roma are located along the edge of the Grand Canal at the foot of the Constitution Bridge in the following order: - S.Chiara ‘G’ is the landing stage for waterbus route No. 2 via the Giudecca Canal to St. Mark’s Square, (night service is provided by route ‘N’). - Adjacent to it, S. Chiara ‘F’ is the landing stage for waterbus route No. 2 via the Grand Terminal Piazzale Roma Canal in the direction of Rialto and St. Mark’s Square (during the summer it proceeds all the way to the Lido). Night service is provided by route ‘N’ at this stop. - The Parisi ‘E’ landing stage serves outer circle routes No. 4.1 (direction Giudecca/ San Marco), No. 5.1 (direction Lido) and No. 6. - Landing stage ‘D’ is the point of departure for waterbus route No. 1 (last stop Lido, about one hour of navigation). - Scomenzera ‘C’ is the landing stage for the direct waterbus route No. 3 to Murano. - Sant-Andrea ‘B’ is the landing stage for outer circle routes No. 4.2 to Fondamente Nove/Murano, No. 5.2 to Fondamente Nove/ Ospedale/Lido (at night, some services depart from the nearby landing stages: please read the notices at the stop). i Santa Lucia Railway Station A i Ponte degli Scalzi ! B Stazione S.Lucia Canal i Grande C D Piazzale Roma E A Route No. 4.1, 5.1, 3 to P.le Roma B Route No. 4.2 to Fondamenta Nuove / Murano, 5.2 to Fondamenta Nuove / Lido, 3 to Murano C Route No. 2 and N via Giudecca, 2 / to P.le Roma, N to S. Marco D Route No. 2 to Rialto, 2/ to Rialto, N to Lido S.M.E. E Route No.1 i Venezia Unica Ticket Office / F18 inside the station Self-service ticket machines / Venezia Unica point Terminal Venice Santa Lucia railway station ACTV waterbus landing stages are just feet away from Venice Santa Lucia railway station. The landing stage ‘E’ serves waterbus route No. 1 running down the Grand Canal and across the Bacino di San Marco to the Lido of Venice (a one-hour ride). From landing stage ‘D’, waterbus route No. 2 runs down the Grand Canal towards Rialto/San Marco (during the summer season the route proceeds all the way to the Lido). Night service provided by route ‘N’ at this stop. From the adjacent landing stage ‘C’, waterbus route No. 2 goes in the opposite direction to San Marco via the Giudecca Canal (Night service provided by route ‘N’ at this stop). The outer circle waterbus routes No. 4.2, 5.2 and 3 leave from landing stage ‘D’, running Terminal Venice Santa Lucia railway station clockwise through Cannaregio to stop at various points of the city before reaching the Fondamente Nove - Murano (connections to Burano, Torcello and Sant’Erasmo, route 4.2) or continue to the Lido (route 5.2). The Bar Roma ‘A’ landing stage serves the outer circle waterbus routes No. 4.1 directed towards Piazzale Roma/Giudecca/ San Marco-San Zaccaria, route 5.1 directed towards Piazzale Roma/San Marco-San Zaccaria / Lido S.M.E. and finallyroute 3 (but only to the end of the line at Piazzale Roma C). Tronchetto 1 Island Piazzale Roma i i A Canale del Tronchetto B i 2 A Route No. 2 to to St. Mark’s via Giudecca (night long route N) B Route No. 2 to Piazzale Roma / Rialto via Grand Canal 1 People Mover 2 Ferry Boat Route No. 17 landing to Lido di Venezia i Venezia Unica Ticket Office / Agency Self-service ticket machines / Venezia Unica Point Tronchetto Parking Terminal If you arrive by car and park at the Tronchetto Parking Terminal, or by tourist coach, you can get to Venice by taking waterbus route 2 departing from the ACTV landing stages on the island. You can reach St. Mark’s Square along the Grand Canal (landing stage to the right of the ticket office, a 28-minutes ride), or along the Giudecca Canal (landing stage to the left, a 30-minute ride). At night, waterbus service is provided by line N down the Grand Canal between 0:02 am and 4:42 am, and down the Giudecca Canal between 0:19 am and 4:59 am. Cruise Terminal You can reach Venice Piazzale Roma from the Stazione Marittima Cruise Terminal on the People Mover, the automated monorail train that connects Piazzale Roma and the Tronchetto terminals. Tickets may be purchased directly at the automatic ticket machines located at the entrance to the People Mover. When you reach Piazzale Roma, it is just a short walk to the ACTV landing stages, from which the main public transport waterbus routes depart in all directions and for all destinations, along the Grand Canal or the Giudecca Canal, or following the circuit of the outer circle waterbus routes. Map Venezia 21 26 30 37 11 San Stae Ferrovia 20 7 5 Ca’ d’Oro P.le Roma 19 15 16 29 18 17 Rialto 14 6 33 8 36 34 3 31 2 4 13 22 San Samuele San 1 25 28 12 Marco 32 Accademia Arsenale 27 Salute San Giorgio 24 Giardini Giudecca 23 Venezia 21 and Murano 26 Murano 30 9 37 11 San Stae Ferrovia 20 7 5 Ca’ d’Oro P.le Roma 19 15 16 29 18 17 Rialto 14 6 33 8 36 34 3 31 2 4 13 22 San Samuele San 1 25 28 12 Marco 32 Accademia Arsenale 27 Salute San Giorgio 24 Giardini Giudecca 23 Burano 35 and Torcello Torcello Burano 2710 Index Fondazione Musei Civici di Venezia – Museums 1 – Palazzo Ducale/Doge’s Palace 2 – Museo Correr, National Archeological Museum • * Monumental Rooms of the Biblioteca Marciana • ** 3 – Clock Tower (Visits only upon booking, with specialized guide) call center: 848082000 (from Italy), +39 041 42730892 (from abroad) and torreorologio.visitmuve.it 4 – Ca’ Rezzonico Museum of the 18th Century Venice 5 – Palazzo Mocenigo and Study Center for the History of Textiles and Costumes with the new Perfume Itineraries 6 – Carlo Goldoni’ House and Library for Theatrical Studies 7 – Ca’ Pesaro International Gallery of Modern Art Oriental art Museum * 8 – Palazzo Fortuny 9 – Glass Museum, Murano 10 – Lace Museum, Burano 11 – Natural History Museum • Integrated itinerary with joint ticket
Recommended publications
  • WRITING ABOUT EARLY RENAISSANCE WORKS of ART in VENICE and FLORENCE (1550-1800) Laura-Maria
    BETWEEN TASTE AND HISTORIOGRAPHY: WRITING ABOUT EARLY RENAISSANCE WORKS OF ART IN VENICE AND FLORENCE (1550-1800) Laura-Maria Popoviciu A dissertation submitted in fulfillment of the requirements for the degree of Doctor of Philosophy in Combined Historical Studies The Warburg Institute University of London 2014 1 I declare that the work presented in this thesis is my own _______________________________ Laura-Maria Popoviciu 2 ABSTRACT My dissertation is an investigation of how early Renaissance paintings from Venice and Florence were discussed and appraised by authors and collectors writing in these cities between 1550 and 1800. The variety of source material I have consulted has enabled me to assess and to compare the different paths pursued by Venetian and Florentine writers, the type of question they addressed in their analyses of early works of art and, most importantly, their approaches to the re-evaluation of the art of the past. Among the types of writing on art I explore are guidebooks, biographies of artists, didactic poems, artistic dialogues, dictionaries and letters, paying particular attention in these different genres to passages about artists from Guariento to Giorgione in Venice and from Cimabue to Raphael in Florence. By focusing, within this framework, on primary sources and documents, as well as on the influence of art historical literature on the activity of collecting illustrated by the cases of the Venetian Giovanni Maria Sasso and the Florentine Francesco Maria Niccolò Gabburri, I show that two principal approaches to writing about the past emerged during this period: the first, adopted by many Venetian authors, involved the aesthetic evaluation of early Renaissance works of art, often in comparison to later developments; the second, more frequent among Florentine writers, tended to document these works and place them in their historical context, without necessarily making artistic judgements about them.
    [Show full text]
  • Venezia Altrove: Almanacco 2004
    venezialtrove3 OK 18-02-2005 12:42 Pagina 1 venezialtrove3 OK 18-02-2005 12:42 Pagina 2 venezialtrove3 OK 18-02-2005 12:42 Pagina 3 almanacco della presenza veneziana nel mondo almanac of the venetian presence in the world fondazione venezia 2000 Ma r s i l i o venezialtrove3 OK 18-02-2005 12:42 Pagina 4 a cura di/edited by Fabio Isman hanno collaborato/texts by Linda Borean Sandro Cappelletto Giuseppe De Rita Rosella Lauber Giovanna Nepi Scirè Francesca Pitacco Giandomenico Romanelli si ringraziano/many thanks to Andrea Emiliani Holly Fresbee (Philadelphia Museum of Art) Augusto Gentili Norman Keyes (Philadelphia Museum of Art) Stefania Mason Gioia Mori Valerio Tura (Théâtre de la Monnaie) Veerle Wallebroek (Théâtre de la Monnaie) in collaborazione con Fondazione di Venezia in collaboration with traduzione inglese Tina Cawthra English translation progetto grafico/layout Studio Tapiro, Venezia © 2004 Marsilio Editori® s.p.a. in Venezia isbn 88-317-8602-6 www.marsilioeditori.it In copertina: Tiziano Vecellio, Morte di Atteone (dettaglio), Londra, National Gallery. Il dipinto è acquistato nel 1799 da sir Abraham Hume, un colto viaggiatore inglese, in un’asta nella quale passarono ben ventotto opere del maestro cadorino, di proprietà di Louis Philippe Joseph d’Orléans. Front cover: Tiziano Vecellio (Titian), Death of Actaeon (detail), London, National Gallery. The painting was bought in 1799 by the educated English traveller Sir Abraham Hume at an auction which sold no less than twenty-eight paintings by the artist from Cadore, belonging
    [Show full text]
  • The City of Venice Is an Important Historical and Cultural Center of Italy, Declared Heritage of Humanityin 1979 by UNESCO
    ACTA MOLDAVIAE MERIDIONALIS, XXXIII, 2012 489 VENEŢIA - MUZEUL CORRER Gianina-CristinaCHIRILĂ • Cuvinte-cheie: muzeu, Correr, Veneţia, San Marca, colecţie, artă, palat, pictură Key-words: museum, Correr, Venetia, San Marca, collection, art, palace, picture Abstract: The city of Venice is an important historical and cultural center of Italy, declared Heritage of Humanityin 1979 by UNESCO. The Correr Museum, opened in 1922, includes exhibits of great historica/ and artistic value. Declarat în anul 1979 patrimoniu al umanităţii de către UNESCO, oraşul Veneţia reprezintă un important centru istoric şi cultural al Italiei. Înfiinţată acum mai bine de 1500 de ani pe un arhipelag ce număra 117 insule, Veneţia este legată de peste 150 de canale, 400 de poduri si multe străzi istorice unde se află clădiri susţinute de piloni de stejar şi pin care sunt bătuţi adânc în sol pentru a crea o fundaţie solidă. Oraşul vechi, reprezintă centrul Veneţiei fiind dominat de Piazza San Marca unde se află unul din cele mai vechi şi mai fa scinante obiective dedicate istoriei şi artei veneţiene, Muzeul Correr. Construcţia iniţială datează din secolul al XIX-lea, când Veneţia era parte componentă a Regatului Italiei (1806-1814), al cărui suveran era Napoleon era reprezentat de vice-regentul Eugene de Beauharnais. Clădirea unde se termină Piazza San Marca este cunoscută sub numele de aripa napoleoniană fiind proiectată de arhitecţii Giovanni Antonio Antolini, Giuseppe Soli şi Lorenzo Santi. Cele două aripi lungi care se află de-a lungul Pieţei San Marca sunt Procuratorie Vecchia şi Procuratorie Nuove, care au fo st reşedinţele unora dintre cele mai importante personalităţi ale Republicii Veneţiene.
    [Show full text]
  • Ricordo Di Terisio Pignatti 313 Gian Mario Vianello
    Ricordo di Terisio Pignatti 313 gian mario vianello er la severità del suo carattere, della sua concezione della vita, Pqualsiasi professione avesse scelto, Terisio avrebbe raggiunto risul- tati eccellenti. Mente razionale, «organizzata», pratica, realistica. Pro- fondo senso del dovere, senza fronzoli, vanità. Sicuro di sé ma insieme schivo, modesto, a volte ironico. L’anima di Terisio era pulita, limpida come le montagne che tanto amava e conosceva bene: i «monti pallidi», la roccia, le alte rupi che toc- cano il cielo, la neve candida, il fruscio degli sci sulla neve, la scelta del Corpo degli Alpini come ufficiale di complemento alla leva militare… Intransigente con se stesso. Riservato, schivo, ma coraggioso, deci- so, fedele ai suoi ideali di dignità della persona, di libertà, di giustizia. Così l’8 settembre del 1943, nel disastro in cui il fascismo aveva pre- cipitato l’Italia, Terisio, a poco più di vent’anni, quando 600mila sol- dati e ufficiali italiani dopo quattro anni di guerra vengono catturati a forza dalle truppe naziste o fatti prigionieri dopo i bandi affissi dalla Wehrmacht sulle mura di tutta l’Italia del Nord occupata, che ordina- vano di consegnarsi ai tedeschi, Terisio rifiuta di cedere all’intimazio- ne straniera, scende nelle Marche a organizzare la resistenza e combat- te da partigiano dal settembre 1943 al giugno 1944, per dieci mesi. È decorato per il suo valore con medaglia d’argento. Da lì avanza com- battendo, a fianco degli alleati, nella divisione Legnano, ancora per altri dieci mesi, dal giugno 1944 all’aprile 1945, per la liberazione del nostro paese dall’occupazione nazista e dal dominio fascista.
    [Show full text]
  • Bollettino Dei Musei Civici Veneziani. - N
    Bollettino dei Musei civici veneziani. - N. 1 (1956)-a. 24, n. 1/4 (1979). - Venezia : Direzione belle arti del Comune di Venezia, 1956-1979. - v. : ill. 1956 N. 1/4 Pietro Zampetti, Pubblico, Musei e Mostre, pp. 3-7 Rodolfo Pallucchini, Le Mostre d’arte antica a Venezia, pp. 8-10 AA.VV., Mostre d’arte organizzate dalla Direzione Belle Arti dal 1935 al 1956, pp. 11-12 Guido Perocco, Le mostre di pittura alla “Bevilacqua La Masa”, pp. 13-15 Le mostre di pittura del Premio Burano, p. 16 Le lezioni d’arte e di storia del Comune, p. 17 Giorgio Trentin, Le mostre d’arte incisoria contemporanea, pp. 18-20 Egle Renata Trincanato, L’attività nel Palazzo Ducale dal 1945 al 1956, pp. 21-23 NOTIZIARIO, pp. 24-26 Guido Perocco, La Galleria d’Arte Moderna dal 1945 al 1956, pp. 27-35 NOTIZIARIO della Galleria d’Arte Moderna, pp. 36-42 Giovanni Mariacher, Il riordino del Correr nella sezione storica, pp. 43-48 Giuseppe Ortolani, La casa di Goldoni, pp. 49-51 Terisio Pignatti, Due miniature su avorio di Rosalba Carriera donate al Correr, pp. 52-55 NOTIZIARIO Collezioni di arte e di storia, pp. 56-68 Terisio Pignatti, Biblioteca d’arte. Statistica e attività dal giugno 1935 al 31 dicembre 1956, pp. 69-71 NOTIZIARIO doni e acquisti dal 1935 al 1956, pp. 72-76 Archivio fotografico. Attività dell’archivio fotografico dal 1930 al 1956, pp. 77-78 Casa di Goldoni. L’Allestimento della casa di Goldoni, pp. 79-80 Giovanni Mariacher, Cronaca dei Restauri. Recenti restauri di pitture del Museo Correr, pp.
    [Show full text]
  • Download the Venezia Unica Guide of Venice (ENG)
    Venezia Unica Guide A practical guide for the optimal use of your city pass Thank you for purchasing on veneziaunica.it 1. Save and print your voucher You must print it and take it with you in order to take advantage of the services you purchased. CITY PASS VOUCHER CON PNR CODE VOUCHER VOUCHER CITY PASS VOUCHER PASS CITY PASS CITY VOUCHER VOUCHER POINT * Please read the information provided on the voucher very carefully: it will give you specific instruction on how to use the services, and provide the links to print separate vouchers for the services that require them. 2. Pick up the City Pass CITY PASS VOUCHER CON PNR CODE VOUCHER VOUCHER CITY PASS VOUCHER PASS CITY PASS CITY VOUCHER VOUCHER POINT * In case of difficulty you can ask to the Venezia Unica ticket office and agencies. 3. Access to services CITY CITY PASS PASS VOUCHER CON VOUCHER CON PNR CODE PNR CODE VOUCHER VOUCHER VOUCHER VOUCHER CITY CITY PASS PASS VOUCHER VOUCHER PASS PASS CITY CITY PASS PASS CITY CITY VOUCHER VOUCHER VOUCHER VOUCHER POINT POINT 2 Treviso airport (Canova) 1 Airport How to get Marco Polo VCE to Venice 6 San Giuliano Venetian Punta Lagoon Sabbioni 7 3 5 4 9 Venezia Lido 6 Terminal Fusina 8 Chioggia Pellestrina By plane 1 – Airport Marco Polo VCE 2 – Treviso Airport (Canova) By train 3 – Santa Lucia Railway Station By car 4 – Piazzale Roma 5 – Isola del Tronchetto 6 – San Giuliano or Fusina 7 – Punta Sabbioni 8 – Chioggia By boat 9 – Cruise Terminal With public 4 – Piazzale Roma transportation 7 – Punta Sabbioni 8 – Chioggia How to get to Venice There are many ways to reach Venice.
    [Show full text]
  • CITY Venice ®
    MARCH 2017 ALL YOU THE MONTHLY GUIDE TO CAN DO IN THE CITY Venice ® YOUR www.where-venice.com CITY GUIDE LIKE A SCENE FROM A MOVIE GIFT IDEAS OUT OF TOWN NATURE, HISTORY AND SPAS SIGHTSEEING | MUSEUMS | ENTERTAINMENT | SHOPPING | DINING | MAPS Museo Di Torcello TORCELLO Chiesa di Santa Maria Assunta Chiesa di Santa Fosca 100 m SINA O R A L EL D A D TRA Venice March 2017 S ISOLA DEI LAGHI 12 FOCUS the guide FON A IN DA R M E ISOLA ATE N T C A D TA I N S A SA N I T D A TA CA N T E E M R DA IN N A MAZZORBETTO FO U E R I F O V I S Q F I A N TA D E E O M N S A F O N D A DN N M D A R MA E C MA RO R O E A E N M V I A E N O S T C C A MIT A R T F I E P A A OP O C T R I O OP R L A N L O T N D O I E C N L A R I C . C A L Z E V E R D E D I T L N E M D I E N U E E A C L D Q E N R L A S L O T A L R I A O T M E I S C S D STRADA D I E I I N A E L T S T S O O A FO T T I L E C A V LLE C R D R C .
    [Show full text]
  • Immunity from Seizure
    THE NATIONAL GALLERY IMMUNITY FROM SEIZURE Mantegna and Bellini 01 Oct 2018 - 27 Jan 2019 The National Gallery, London, Trafalgar Square, London, WC2N 5DN Immunity from Seizure IMMUNITY FROM SEIZURE Mantegna and Bellini 01 Oct 2018 - 27 Jan 2019 The National Gallery, London, Trafalgar Square, London, WC2N 5DN The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals, Courts and Enforcement Act 2007. This Act provides protection from seizure for cultural objects from abroad on loan to temporary exhibitions in approved museums and galleries in the UK. The conditions are: The object is usually kept outside the UK It is not owned by a person resident in the UK Its import does not contravene any import regulations It is brought to the UK for public display in a temporary exhibition at a museum or gallery The borrowing museum or gallery is approved under the Act The borrowing museum has published information about the object For further enquiries, please contact [email protected] Protection under the Act is sought for the objects listed in this document, which are intended to form part of the forthcoming exhibition, Mantegna and Bellini. Copyright Notice: no images from these pages should be reproduced without permission. Immunity from Seizure Mantegna and Bellini 01 Oct 2018 - 27 Jan 2019 Protection under the Act is sought for the objects listed below: Giovanni Bellini (active about 1459; died 1516) © Comune di Milano, tutti i diritti riservati X9715 Portrait of a Humanist (Andrea Mantegna?) about 1475-80 Place of manufacture: Italy Oil on board Object dimensions: 35 × 28 cm Pinacoteca del Castello Sforzesco, Milano.
    [Show full text]
  • Ricordo Di Terisio Pignatti
    Francesco Valcanover Ricordo di Terisio Pignatti 2 CENNI SULL’ATTIVITÀ SVOLTA L’Istituto Veneto di Scienze, Lettere ed Arti, in occasione dell’adunanza accademica di sabato 29 ottobre 2005, ha ricordato il socio effettivo Terisio Pignatti, scomparso il 31 dicembre 2004. Il discorso commemorativo, che qui si pubblica, è stato tenuto dal socio effettivo Francesco Valcanover. Istituto Veneto di Scienze, Lettere ed Arti I-30124 Venezia - Campo S. Stefano 2945 Tel. 041 2407711 - Telefax 041 5210598 [email protected] www.istitutoveneto.it CENNI SULL’ATTIVITÀ SVOLTA 3 ISTITUTO VENETO DI SCIENZE, LETTERE ED ARTI FRANCESCO VALCANOVER RICORDO DI TERISIO PIGNATTI VENEZIA 2006 4 VITTORE BRANCA VITTORE BRANCA 5 RICORDO DI TERISIO PIGNATTI * (1920 - 2004) Non è facile dire di Terisio Pignatti né della sua Opera. Di Terisio Pignatti perché i rapporti che chiunque ha avuto con lui, ed ha fortunatamente tuttora, sempre improntati a un fondo di fami- liarietà che rende facile il colloquio e, quindi, lo rende sempre forte di arricchimenti non solo culturali ma anche umani, accentuano i senti- menti di gratitudine. Ma accanto a ciò, che è tuttavia indice di pro- fonda personalità e umanità, sta il dono culturale. Pignatti viene dalle cose, quelle cose che fin dal 1945 ha studiato e amato nei musei civici veneziani. Questa provenienza, si direbbe pra- tica, ha ancorato tutta la sua attività scientifica a radici profonde e concrete. Non che agli studi sia approdato dopo la sua esperienza di direttore di museo, ma essi sono sempre stati studi di cose, approfondite indivi- dualmente con una intuizione che proveniva non solo dalla letteratu- ra o da più lontane teorie di ermeneutica storico-artistica, ma sempre dal diretto contatto visivo e tecnico con l’oggetto.
    [Show full text]
  • WRAP THESIS Bostock1 2009.Pdf
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/3144 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. The Pictorial Wit of Domenico Tiepolo in 2 volumes (Volume I of II) by Sophie Bostock A thesis submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy in Art History University of Warwick, Department of Art History September 2009 ii The Pictorial Wit of Domenico Tiepolo Contents Acknowledgements v Abstract viii List of Illustrations ix Chapter I: Methodological Problems and Historiography of Divertimento per li Regazzi 1 Formal Qualities of the Divertimento and Summary of the Subject Matter 2 Subsequent History of the Drawings 4 The Chronology of Divertimento per li Regazzi 5 Historiography and Literature Review 8 Methodological Problems of the Divertimento 18 Wider Musing on the Broader Themes of the Divertimento 24 Chapter II: ‘Gio. Batta., and Domenico: Father & Son Tiepolo. Excellent Painters’ 38 Setting the Scene: Eighteenth-Century Venice 42 Giambattista Tiepolo and the Building of an Artistic Dynasty 45 The Tiepolo Family’s Social and Cultural Networks 61 Domenico Tiepolo: Diligentissimo Imitatore d’un Tanto Padre 66 Birth and Early Life 66 Public
    [Show full text]
  • Wunderkammer Studi, Scoperte, Restauri Per Il ‘‘Grande Correr’’ — Museo Correr, Venezia Percorso Museale Del Primo Piano Dal 17 Aprile 2013
    Collezioni permanenti Comunicato Stampa Wunderkammer Studi, scoperte, restauri per il ‘‘Grande Correr’’ — Museo Correr, Venezia percorso museale del primo piano Dal 17 Aprile 2013 — Vernice stampa: martedì 16 aprile ore 12:00 Saranno presenti: Gabriella Belli, Andrea Bellieni e Giorgio Fossaluzza — Al Museo Correr ricostruita una sorprendente “collezione delle meraviglie”: dipinti, preziosi manufatti e rarità escono dai depositi dopo interventi di catalogazione, studio e restauro. Esposti anche capolavori inediti di Carpaccio e Lotto e il famoso “Servizio Correr” di Nicola da Urbino. Manufatti veneziani in avorio e cristallo, smalti romanico-gotici di Limoges, oreficerie da Costantinopoli, avori gotici francesi, strumenti di straordinaria complessità meccanica tedeschi, smalti e maioliche, cammei e gemme preziose antiche o rinascimentali. E poi lussuosi metalli ageminati islamici, arazzi delle fiandre, bronzetti rinascimentali, mobili di pregio, codici miniati tra i più preziosi della Biblioteca Correr e dipinti, che sono stati oggetto in questi ultimi anni di sorprendenti scoperte, come quelle - recentissime - d’inediti di Vittore Carpaccio e Lorenzo Lotto. Saranno oltre 300 le opere delle ricchissime collezioni civiche veneziane inserite nel percorso espositivo del Museo Correr, in nove sale del primo piano, oggetto di uno specifico allestimento, curato da Andrea Bellieni, a rievocare il fascino di una possibile “Wunderkammer” lagunare. Di queste, ben 260 escono direttamente dai depositi, esposte e portate all’attenzione e al godimento
    [Show full text]
  • Immunity from Seizure
    THE NATIONAL GALLERY IMMUNITY FROM SEIZURE Mantegna and Bellini 01 Oct 2018 - 27 Jan 2019 The National Gallery, London, Trafalgar Square, London, WC2N 5DN Immunity from Seizure IMMUNITY FROM SEIZURE Mantegna and Bellini 01 Oct 2018 - 27 Jan 2019 The National Gallery, London, Trafalgar Square, London, WC2N 5DN The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals, Courts and Enforcement Act 2007. This Act provides protection from seizure for cultural objects from abroad on loan to temporary exhibitions in approved museums and galleries in the UK. The conditions are: The object is usually kept outside the UK It is not owned by a person resident in the UK Its import does not contravene any import regulations It is brought to the UK for public display in a temporary exhibition at a museum or gallery The borrowing museum or gallery is approved under the Act The borrowing museum has published information about the object For further enquiries, please contact [email protected] Protection under the Act is sought for the objects listed in this document, which are intended to form part of the forthcoming exhibition, Mantegna and Bellini. Copyright Notice: no images from these pages should be reproduced without permission. Immunity from Seizure Mantegna and Bellini 01 Oct 2018 - 27 Jan 2019 Protection under the Act is sought for the objects listed below: Giovanni Bellini (active about 1459; died 1516) © Comune di Milano, tutti i diritti riservati X9715 Portrait of a Humanist (Andrea Mantegna?) about 1475-80 Place of manufacture: Italy Oil on board Object dimensions: 35 × 28 cm Pinacoteca del Castello Sforzesco, Milano.
    [Show full text]