Museum Correr – Wikipedia

Posted on June 1, 2019 by lordneo

before-content-x4

The Running Museum It is one of the most important and representative museums of the city of Venice. It is located in the Sestiere di San Marco, at Piazza San Marco, and is part of the Civic Museums Foundation of Venice ^[first]. It illustrates, in the various sections and in the varied and rich collections, the art, civilization and history of Venice.

after-content-x4

The museum originated with the legacy of the Venetian nobleman Teodoro Correr, who died in 1830. Over time the collections increased and in 1887 the transfer of the collections from the original location of Palazzo Correr to the Fondaco dei Turchi was necessary ^[2].

In 1922 the definitive transfer to the current headquarters at the Napoleonic wing (O New factory ), in Piazza San Marco, and the new procuations ^[3].

Table of Contents

The figure of Teodoro Correr [ change | Modifica Wikitesto ]

The museum takes its name from Teodoro Correr, a Venetian nobleman, a great enthusiast of art and collector who dedicated much of his life to collect works of art and all sorts of memorabilia: paintings, ancient and modern statues, miniator codes, documents, coins , medals, books, gems, cameos, drawings and much more. Wide and rich, the collection took shape between the last years of the Venetian Republic and the subsequent ones of foreign dominations.

The Venetian patrician explicitly declared that his intention was to make his heritage as a museum usable: at his death he donated all his collections to the city, together with the family building in which they were kept.

Enriched with new donations, including the Molin collections, lameness (with the remarkable Canovian materials), trucks (paintings, majolica, glass, bronzes), Cicogna, Sagredo and others, the Correr collection already in 1887 was transferred from the house of Teodoro Correr In the Sestiere di Santa Croce, in the San Zuan Degolà area, and placed in the nearby Fondaco dei Turchi, directly overlooking the Grand Canal. In any case, the house of Correr remained the exhibition venue of a part of the collections. In 1922 the Correr Museum was definitively moved to Piazza San Marco, while the collections of natural history remained at the Fondaco, which would go to flow into the nascent natural history museum.

The current building [ change | Modifica Wikitesto ]

The design and the beginning of the construction of the Napoleonic wing, with the monumental prospectus and the porch below, date back to the years in which Venice belonged to the Kingdom of Italy (1806-1814) under the power of Napoleon, flanked by the stepson Eugenio di Beauharnais.

after-content-x4

Until then this part of Piazza San Marco was occupied in the center by the church of San Geminiano (of very ancient origin and rebuilt in the mid -five hundred by Jacopo Sansovino) and by the prolongation of the old and new procuratia respectively, that is, of the two long buildings that delimit it on the south and north sides.

The building on the southern side, on the other hand, was designed in 1582 by Vincenzo Scamozzi to complete the imposing reorganization program of the square, undertaken by Sansovino in the mid -sixteenth century and built between 1586 and 1596 to be completed by Baldassarre Longhena around 1640.

At the behest of Napoleon, from January 1807 this complex consisting of the wing, which takes its name, from the Marciana library and by the building of the mint and gardens, was destined for residence. In the spaces of the new procuations, all interiors were decorated in neoclassical style.

From 1814 Venice passed to Austria and the palace, which in the meantime became the prerogative of the Habsburg Crown, the emperor Francis II stayed in 1815. In the mid -nineteenth century, in the ornaments and decorations, typical modifications of the empire style were made to support the tastes of the court and in particular of the empress Elizabeth of Wittelsbach (known as Sissi), who stayed on several occasions.

After the annexation of Venice to Italy, which took place in 1866, the palace passed to the Sabaudi kings.

In 1919 Vittorio Emanuele III King of Italy returned it to the state property to be used by the Ministry of Education. This is how since 1920 part of the area was destined for the National Archaeological Museum, previously in the Ducal Palace, and since 1922 he started at the Correr Museum.

The original core [ change | Modifica Wikitesto ]

The Teodoro Correr collection had not been formed following organic criteria; Exposed to the public starting from 1836, only with the third of its directors, Vincenzo Lazari, is ordered according to a museum logic. Lazari divides the materials by type/material, catalogs them, deals with integrating the new collections that came from bequests and donations of other Venetian patricians to the assets, implements purchases, urges restoration and structure the museum on the one hand as a study cabinet, on More with an exhibition itinerary of remarkable pieces, choosing – they are his words – “how much there was better in every single collection”. Unfortunately, the destruction of documents and objects in his opinion should not be consumed in the protection of the donor’s image, but it is thanks to its work that, in the second half of the century, the city guides place the museum among the destinations D ‘obligation of cultured visitors and scholars.

The birth of the civic museums of Venice [ change | Modifica Wikitesto ]

The continuous increase in the initial correr collection for new bequests, donations and acquisitions, marks the singular history of the civic museums of Venice, intended to articulate over time in a series of detached sections, up to the current vast museum system of the city.

Starting from 1897, the Municipality of Venice has launched the municipal collection of modern art, in conjunction with the second edition of the Biennale and in 1902 it designates it as headquarters Ca ‘Pesaro, a prestigious Baroque palace recently donated to the city by the Duchess Felicita Bevilacqua la Masa. Here the paintings of the second nineteenth century will also find space that Pompeo Molmenti leaves to the city in 1927.

At the same time as the transfer, in 1922, of the collections to the Napoleonic wing, to the Fondaco dei Turchi the Museum of Natural History found space. In 1923 the glass museum based in Murano in Palazzo Giustiniani was also acquired: here the various glass collections will merged here in 1932. In the meantime, in 1923, an agreement with the State entrusted the Municipality of Venice the management of Palazzo Ducale. At 1931 the donation to the city of Ca ‘Centanni dates back, the birthplace of Carlo Goldoni, while in 1932 the Municipality acquired Ca’ Rezzonico: it will be intended for a museum of the Venetian eighteenth century and here they will find space, on a project by Giulio Lorenzetti and Nino Barbantini , in 1936, the eighteenth -century works of the Correr collection, in addition to other acquisitions. In 1945 Alvise Nicolò Mocenigo gave his home to San Stae to the city. The house of Carlo Goldoni, enriched by the funds of the Theater Study Center, was set up and open to the public in 1952, while, in 1956, Henriette Fortuny left the Mariano home-atelier to the Municipality and its collections. In 1975 the Mariano Fortuny Museum then opens to the public and six years later, in Burano, the Museum of Merlet was born in the ancient School of Andriana Marcello. The Mocenigo Palazzo Museum opens to the public in 1985 and here, in the annex Centro Studies of History of the fabric and customs, the textile collections of Teodoro Correr flow. In the nineties, the civic museum system is completed by renewing and unifying the organizational structure of all offices under one direction.

First floor [ change | Modifica Wikitesto ]

Napoleonic wing (neoclassical salt and Canovian collection) [ change | Modifica Wikitesto ]

The neoclassical rooms are introduced by a sumptuous dance hall that shows ornate and decorations typical of the empire style. The design is due to Lorenzo Santi (1822), while the decoration to Giuseppe Borsato (1837 ca.). At the center of the ceiling the fresco with the Peace surrounded by virtues and Olympus genes He alludes to the restoration undertaken by the Habsburg following the Napoleonic events. In the following rooms there are the sculptural groups of Antonio Canova with Orpheus and Euridice It is Dedalo and Icaro .

Sissi apartment [ change | Modifica Wikitesto ]

The decoration dates back to the Habsburg years, in the period 1836-1838 in anticipation of the arrival of the emperor Ferdinand the incorrect kings of Lombardy-Veneto in 1838 in Milan and in the period 1856-1858, for the state visit of the sovereigns Francesco Giuseppe and Elisabetta, Sissi, between November 1856 and January 1857. The empress lived here again for another seven months, between October 1861 and May 1862.

The apartment is organized in different rooms: weekly lunches room, room of the Lombardy-Veneto throne, hearing room, bathroom by the empress, studio room of the empress, boudoir of the empress, bedroom of the empress , Antechamber of the apartments, oval room (room of daily lunches).

Wunderkammer [ change | Modifica Wikitesto ]

Nine rooms on the first floor of the Correr Museum currently host a “collection of wonders” which recalls the charm of a possible lagoon Wunderkammer. There are objects of sacred art, paintings of Nordic origin, rarity, testimonies of passion and taste for the ancient among the Venetian patricians of the sixteenth century.

Venetian civilization [ change | Modifica Wikitesto ]

The various aspects of the Venetian civilization are presented within the new procuations through rooms that expose paintings, coins and artifacts of different kinds.

Room 8: Pisani bookshop
Room 09-10: Judicurs of the Venetian Republic (portraits of dogi, senators and prosecutors of San Marco).
Room 11: Numismatic collection and historical flags
Room 12-13-14: Venice and the sea, the battle of Lepanto, scientific tools for navigation, arsenal.
Room 45-46-47: the Venetian holidays, the last Bucintoro
Room 49-50: Venetian arts and crafts.

Second floor (square) [ change | Modifica Wikitesto ]

Much of the approximately 140 paintings displayed in Quadreria belonged to the collection of Teodoro Correr. Giovanni Bellini’s tables, Antonello da Messina, Cosmé Tura and Vittore Carpaccio, date back to the Lega Correr (1830). Subsequently, the pictorial panorama of the quadreria has expanded thanks to subsequent bequests, gifts and purchases of the Municipality, which have contributed to presenting the evolution of lagoon artistic history in an exhaustive way.

The setting up of Carlo Scarpa [ change | Modifica Wikitesto ]

For the preparation of the square, on the second floor of the new procuratie, the management of the Correr Museum, led by Professor Giovanni Mariacher (1912-1994), turned to Carlo Scarpa (1906-1978).

Between 1957 and 1960 Scarpa intervened by applying to the different environments of the narrow and elongated structure of the new procuratie (distributed on two wings, one overlooking Piazza San Marco, the other the internal courtyards of the former Palazzo Reale) functional criteria faces a enhance the work of art and the relationship that it establishes with the visitor. For the paintings on the table displayed Scarpa selected simple storing in walnut, for the walls and the panels adopted clear tones and along the whole path he enhanced natural lighting.

Cabinet of drawings and prints [ change | Modifica Wikitesto ]

The Cabinet of the drawings and prints of the Correr Museum is one of the most important institutions in the world for the study of Venetian graphics. It preserves 8,000 ancient designs and over 40,000 engravings from the 15th to the 19th century.

The birth of the collection always dates back to 1830, thanks to the testamentary legacy of Teodoro Correr; During the 19th and 20th century the collection was enriched by heterogeneous acquisitions.

Numismatic collection [ change | Modifica Wikitesto ]

The Correr Museum has an important numismatic collection formed thanks to the initiative of famous donors belonging to the most important Venetian patrician families. It has more than 50,000 pieces. Other conspicuous collections from Domenico Zoppetti (1850), Federico Garofoli (1861), Emmanuele Antonio Cicogna (1865), Ascanio Molin (1886) and Count Nicolò Papadopoli were added to the original nucleus belonging to Teodoro Correr. (1922). The latter dates back to the most significant legacy (17,367 pieces), composed of several medieval and modern specimens.

Among the different pieces that make up the imposing collection we find significant points of excellence from ancient Greece, republican and imperial Rome and medieval and modern Byzantine world. There are also a bottom of medals, a small lot of paper and a nucleus of cones of the mint of Venice.

In the same room, the historic flags of the Republic of Venice are placed on the walls including the famous Flag Contarina.

Library [ change | Modifica Wikitesto ]

Attached to the Correr Museum, the library was born from the donation of Teodoro Correr in 1830. The vast collection of historical and artistic memories of the Venetian nobleman also included an imposing collection of parchments, codes, documents, engravings and rare editions. Opened to the public six years later, in 1836, the collection was enriched with the bequests of noble Venetian families and insignificant scholars such as Emmanuele Antonio Cicogna who donated his rich bookcase to the museum in 1865.

The handwritten and printed testimonies preserved in the book collections that include 12,000 manuscripts, 750 incunabulas, over 100,000 monographs and periodicals, constitute the natural integration of the material exposed in the museum: parchments and codes, often richly miniator, noble archives, incunabula and rare editions released by Torks of the Venetian printers, topographical maps of the lagoon and the mainland and Portolani offer a decisive contribution to the reconstruction of the Venetian history.

Given the wealth, the peculiarity and the value of this heritage, the Library of the Correr Museum plays an important conservation role. Constantly enriched through the systematic acquisition of sector publications, it is also characterized as a research and specialist documentation institute in art history and history by performing the most different research and professional updating tasks of scholars, conservatives of museums, university teachers and undergraduates of all the world.

The activity of the library is still compliant with the dictation of Teodoro Correr, who intended to promote free access to the collections: the ultimate goal of the library is in fact to ensure continuous access to the intellectual content of its collections.

Stock Photo [ change | Modifica Wikitesto ]

The Stock Photo, which is based at the Correr Museum, retains two funds with reproductions of works belonging to the Civic Museums of Venice (Museum Fund) and with reproductions of different works, views of the city or works of museums outside the foundation of civic museums (Various bottom).