'Contemporary Dialogues with Tintoretto' at Ca' d'Oro

A fascinating exhibition to compare the master's work with contemporary art

From 20 October 2018 to 24 February 2019

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The Galleria Giorgio Franchetti at Ca' d'Oro is among the numerous organizations that are taking part in the great ‘Tintoretto 500’ project: from 20 October 2018 to 7 January 2019 - extended until 24 Febrary 2019 -  the fascinating exhibition 'Contemporary Dialogues with Tintoretto' will offer an unprecedented analysis of the modernity and innovative power of the Venetian genius’ painting.

The Tintoretto exhibition at Ca' d'Oro in Venice presents an interesting comparison between the Tintoretto’s masterpieces, housed at the Doge’s Palace and the Galleria Giorgio Franchetti, and several works by international contemporary artists.

This is an original exhibition divided into two sections: 'Faces' and 'Stories'. In the section 'Faces', the Tintoretto exhibition in Venice at Ca d’Oro museum showcases a unique dialogue between 'Portrait of Procurator Nicolò Priuli' (Tintoretto, c. 1549) and twelve portraits created by contemporary artists - Michaël Borremans, Glenn Brown, Roberto Cuoghi, John Currin, Chantal Joffe, Victor Man, Yan Pei-Ming, Matthew Monahan, Wangechi Mutu, Celia Paul, Markus Schinwald and Josh Smith. The section 'Stories' is instead house inside the Doge’s Palace, in the Quarantia Civil Vecchia hall and features two paintings by Emilio Vedova.

The importance given by Tintoretto to psychological introspection allows us to consider his works and the way they influenced the evolution of the contemporary portrait, in which the mere description gives way to the interpretation of the subject. The works by contemporary artists invited to participate in 'Contemporary Dialogues with Tintoretto' are a complete overview of the various points of view present in the contemporary art scene, between disturbing and monumental images, tradition and irreverence. The dialogue that develops between these works and those of Tintoretto is surprising and also leads us to reflect on how much the Venetian genius was able to anticipate the ever-present cultural and artistic perspectives of todays’ world.

What does painting mean nowadays? What are the stylistic and conceptual problems that painters have to face? How is a depiction of the human face designed to investigate the most significant elements of expression? From the comparison with Emilio Vedova, who has, from a young age, built a truly privileged relationship with Tintoretto, to Chinese, African, or American artists, the Tintoretto Venice exhibition at Ca' d'Oro Museum offers a precious opportunity to capture the extreme modernity of the Venetian painter who, despite having lived half a century ago, has proved he can establish a dialogue on a level-playing field with the most appreciated artists of the contemporary scene.

The works on display at the exhibition on Tintoretto at Ca d’Oro

  • The main venue of the exhibition, the Galleria Giorgio Franchetti at Ca 'd'Oro houses one of the masterpieces of Tintoretto portraiture, 'Portrait of Procurator Nicolò Priuli', considered a young-age work of remarkable quality. The Venetian nobleman is depicted with clothes bearing no reference to political roles, thus framing the painting in the so-called 'role portraits': as is the case with Jacopo Soranzo, Marco Grimani, Alvise Cornaro and Alessandro Gritti, Nicolò Priuli was also portrayed at the height of his political career, but with no distinguishing manifestation of the position he held, with an almost maniacal attention to details and a very direct, realistic and non-artificial expression.
  • In 'The Measure II' (2007), by the Belgian artist Michaël Borremans, there are some grotesque elements already present in Flemish painting which are further accentuated by the difficulty in distinguishing the subject's nose from the fingers of his left hand, painted with an almost obsessive mastery on a small painting board.
  • The protagonist of 'Nostalgia' (2016) by the English artist Glenn Brown features details very similar to 16th century academic painting, in line with the artist's desire to repossess the works from the past, rendered in an almost artificial way through the use of bright and fluorescent colors.
  • Italian Roberto Cuoghi’s intent is to exasperate the somatic traits of the subject, as in 'Senza Titolo' (2009) where the man depicted is a sort of contemporary saint in a punk version, with sting marks around his half-closed left eye.
  • American John Currin in his 'Anita Joy' (2001) interprets the face of the actress Anita Ekberg retracing, on the one hand, the Baroque portraits and, on the other, the vintage photographs of the Hollywood stars.
  • 'Moll in Pink', by English Chantal Joffe, is drawn with an awkward and deformed style, where a mixture of irony and sensuality make it possible to sense the most intimate essence of the subject.
  • 'Untitled' (2011) by Rumanian Victor Man references the style of the New Objectivity and depicts a mysterious young man who seems suspended in an indefinite time.
  • 'Napoleon, crowning himself emperor' (2017) reveals assertiveness and arrogance: Chinese Yan Pei-Ming has managed to provide his interpretation of an iconic character in Western history by bringing out the excessively confident trait of the French emperor, as he grotesquely crowns himself emperor.
  • 'Secret handshake' (2016) by Matthew Monahan reimagines classicism in a contemporary key with slight irony.
  • Kenyan artist Wangechi Mutu has managed to develop a fable of images that, through different techniques and materials always characterized by a complex aesthetic, revolves around the theme of women's objectification, as in 'Automatic Hip' (2015).
  • Anglo-Indian artist Celia Paul in 'Head of Kate' (1993-2014) shows references to Lucian Freud, focusing on the faces of her four sisters, Kate in particular, portrayed in a pensive and melancholy attitude.
  • The enigmatic 'In the sand' (2017) by American Josh Smith features a quick and immediate pictorial style and the character seems to come out of a Ku Klux Klan ritual.
  • Shrouded in mystery, lady 'Beth' by Austrian Markus Schinwald’ (2012) has her face covered by a damask cloth and recalls the video of the homonymous song by Kiss, who wore white and black make-up in the video.
  • Emilio Vedova, the only artist in dialogue with Tintoretto in the section 'Stories' at the Doge’s Palace, with 'Non Dove'87 -1' (1987) and '...Dagegen... 1987-'95-2' (1987-1995) leads us to an even deeper reflection on Tintoretto, given the intense and profound influence that the Venetian artist had on the great master of abstract painting of the 20th century. Vedova's works are large discs, inspired by the dome of Santa Maria della Salute, painted in a free and gestural way, inspired by the shades and colors of Tintoretto's canvases.

 

‘Contemporary dialogues with Tintoretto': a fascinating journey into the past, spanning from Galleria Giorgio Franchetti - Ca' d'Oro to Palazzo Ducale, will allow you to compare the strength of one of the 16th century greatest artist with that of a 20th century master and a group of contemporary artists, all raptured by a sort of painting 'madness '.

Curated by Ludovico Pratesi, and organized by the Polo Museale del Veneto, Fondazione Musei Civici di Venezia and Zuecca Projects, the Tintoretto exhibition at Ca d’Oro in Venice relies on loans from the Giuseppe Iannaccone Collection, Gagosian Gallery , Galleria Massimo De Carlo and Victoria Miro Gallery.

Tickets

  • Full: €11.00 – Special price with closing of the second floor: €7.00
  • Reduced: €5.50 – Special reduced price with closing of the second floor: €3.50
    • European citizens aged 18 to 25 with a valid identity document
    • Permanent state teachers (without a school group)
  • Free entrance
    • Minors of 18 years of any nationality, provided with a valid identity document
    • Teachers and students of degree courses, postgraduate or post-graduate courses and research doctorates of the following faculties: Architecture, Conservation of Cultural Heritage, Education Sciences or Letters and Philosophy with an Archaeological or Historical-Artistic Address, Academies of Fine Arts (The same facilities are allowed to faculty and faculty students or corresponding courses, established in the States of the European Union) - Students are required to show the enrollment certificate for the current academic year; teachers are required to show a suitable document
    • Teaching staff of the school, of role and with a fixed-term contract, by means of an exhibition of suitable certification issued by the educational institutions accompanied by a valid identity document
    • Operators of voluntary associations that carry out activities of dissemination/knowledge of Cultural Heritage
    • Staff of the Ministry of Heritage and Cultural Activities and Tourism
    • Members of the I.C.O.M. (International Council of Museums)
    • Disabled people and a family member or other person who demonstrates a membership in social-health care services
    • Journalists provided with a suitable document proving the professional activity
    • Tourist guides of the European Union in the exercise of their professional activity provided with a valid license
    • Tourist interpreters of the European Union when their work is needed alongside the guide, provided with a valid license
By Insidecom Editorial Staff