Fondazione Musei Civici di Venezia - Ca' Rezzonico Museum of the 18th Century Venice The Ferruccio Mestrovich Collection
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Fondazione
Musei
Civici
di Venezia
—
Ca’ Rezzonico
Museum of the 18th Century Venice
The Ferruccio Mestrovich Collection
ENG
MEZZANINE
BROWNING /
THE FERRUCCIO
Canal Grande
MESTROVICH
COLLECTION
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
ITINERARY AND 1. Benedetto Diana
(Venice, 1460 ca. – 1525)
section of the polyptych frieze in the
San Francesco convent church in
WORKS OF ART Christ Benedictory
(oil on wood, 60 x 52,5 cm)
Miglionico, near Matera, taken there
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.
in this canvas: the cardinal’s hat and —
the lion, the usual symbols in the
current iconography are both missing. The donation was expanded on
What remains is the Cross, on which October 2009 with an additional 14
Jerome is meditating, and the stone, outstanding paintings, of different
with which he strikes himself for periods and subjects, from the late
Jacopo Amigoni, Portrait of a Young
Woman (the ‘debutante’), oil on canvas
purification from the sins of the flesh. Sixteenth century to today.
The presence of the small landscape
section at top left is significant: some Carletto Caliari (1570 – 1596)
foreshortened buildings are just Annunciazione
outlined on the crest of an incline, and
are probably a church and an obelisk. Giovan Francesco Barbieri detto il
These are the symbols of eternal Guercino (1591-1666)
salvation, which man may only reach Jaele e Sisara
by overcoming the weakness of the
flesh, via an extremely difficult path. Girolamo Forabosco (1604/5 – 1679)
— Ritratto del doge Domenico II Contarini
14. Paolo Scorzia
Board for the ‘royal game’ Sebastiano Ricci (1659 – 1734)
(oil on canvas, 86,5 x 105 cm) Susanna e i vecchioni
The Venetian propensity for gambling Antonio Balestra (1666 – 1740)
is well known, and not a few family Agar e Ismaele nel deserto
Alessandro Longhi, Portrait of Giuseppe fortunes were lost at the Ridotto in
Chiribiri (Cherubini), oil on canvas
Palazzo Dandolo at San Moisè, at the Antonio Guardi (1699 – 1760)
private casinos of the nobility or, more Lot e le figlie
simply, in the bars and on the street.
The royal game was a kind of lottery: Giuseppe Abbati (1836 – 1868)
it required a board and a dice cup of Marina di Vada
tokens carrying the same numbers and
designs as those shown on the board. Federico Zandomeneghi (1841 – 1917)
The board in the Mestrovich collection Donna con bambino seduti in un bosco
is divided into 90 boxes, each one
bearing a different picture: of men Egisto Lancerotto (1847 – 1916)
and women, of noble coats of arms, Nudo di donna
animals, flowers and fruit. At the top it
has a brief summary of the rules of the Egisto Lancerotto (1847 – 1916)
game: ‘SE GIOCATO NON RIAVETE I Giovane donna in piedi
DENARI, NON PUOI A ORO COPERTO,
NON SI PAGA SE AVETE BARATO / Egisto Lancerotto (1847 – 1916)
GIOCANDO A LA BASETTA LE OTTO Ritratto di giovane donna con rosa sui
FACIE CIOUE’ N. 1,9,31,33,19,51,82,90 capelli
SONO DEL BANCO’ (If you don’t win,
you can’t play on credit, payment Alessandro Milesi (1856 – 1945)
is not made if you’ve cheated / in Fanciulla con bambino in braccio
the game of basetta, the 8 numbers
1,9,31,33,19,51,82,90 are the bank’s); Emma Ciardi (1879 – 1933)
on both sides it has boxes for bets on Veduta del bacino di San Marco
groups of numbers (‘DENTRO / PARO
/ DISPARO / FUORI’) (‘IN / EVEN Pietro Marusig (1879 – 1937)
/ ODD / OUT’). The significance of Natura morta
this particular board is that it is the
only one not painted anonymously:
the signature ‘Paulus Scortia fecit’,
4
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