The International Gallery of Modern Art at Ca’ Pesaro in Venice, Italy, is a premier institution showcasing 19th- and 20th-century paintings, sculptures, and graphic art, housed in a monumental Baroque palace overlooking the Grand Canal. Located in the Santa Croce sestiere, Ca’ Pesaro is one of the 11 museums managed by the Fondazione Musei Civici di Venezia and serves as a vital link between Venice’s rich artistic heritage and modern creative movements.
The International Gallery of Modern Art at Ca’ Pesaro traces its
origins to the late 19th century, a period when Venice sought to
reposition itself as a cultural capital through the Venice Biennale,
established in 1895. The gallery’s collection began in 1897 during the
second Biennale, when Prince Alberto Giovannelli purchased six artworks
by Italian and foreign artists and donated them to the Venice City
Council. This act sparked contributions from other noble families and
even King Vittorio Emanuele III, who donated four paintings. Initially
housed at Ca’ Foscari, the growing collection was relocated in 1899 to
Ca’ Pesaro, a larger and more suitable venue, following the bequest of
Duchess Felicita Bevilacqua La Masa in 1898. Her donation stipulated
that the palace become a museum of modern art, a vision realized in 1902
when the gallery officially opened as a municipal institution.
The palace itself has a storied history. Commissioned by the wealthy
Pesaro family in 1659, it was designed by Baldassarre Longhena, the
leading Venetian Baroque architect, known for masterpieces like Santa
Maria della Salute and Ca’ Rezzonico. Construction began from the
landside, with the courtyard completed by 1676, but Longhena’s death in
1682 left the project unfinished. Gian Antonio Gaspari completed it in
1710, adhering to Longhena’s original plans. After the Pesaro family’s
collection was dispersed by 1830 following the death of the last family
member, the palace passed to the Gradenigo family, then to the Armenian
Mechitarist Fathers (who used it as a college until 1850), and later to
the Bevilacqua family, culminating in the Duchess’s transformative
bequest.
The gallery’s development was closely tied to the Venice
Biennale, with many works acquired from early editions, reflecting
Venice’s role as a hub for modern artistic experimentation. Over time,
donations like the Chiara and Francesco Carraro Collection, the
Sonnabend Collection, and the Wildt-Scheiwiller bequest enriched the
holdings, expanding its scope to include international avant-garde
movements.
Ca’ Pesaro is a masterpiece of Venetian Baroque architecture,
blending Renaissance influences with opulent decorative elements.
Overlooking the Grand Canal, its facade is a striking composition of
marble, characterized by a double order of colossal columns and
colonnettes flanking arch-headed windows, a motif inspired by Jacopo
Sansovino. The facade’s rusticated basement grounds the structure, while
the upper floors feature a rhythmic interplay of arches and columns,
with chiaroscuro effects on the first floor and ornate pendentives and
entablatures on the second. This design creates a sense of sumptuous
harmony, balancing complexity with classical restraint.
The
interior is equally impressive, with sumptuous decorations by artists
like Nicola Bambini, Giambattista Pittoni, and Giambattista Tiepolo,
whose frescoes and paintings adorn select spaces, though many were
tailored to the Pesaro family’s original use. The entrance hall, aligned
along the building’s central axis, contrasts with the courtyard, which
features a monumental well, a terrace, and an ashlar-arcade, creating an
airy and articulated space. The palace’s layout, with its grand salons
and smaller rooms, was adapted for museum use, with the first floor
dedicated to the permanent collection, the second for temporary
exhibitions, and the third housing the Oriental Art Museum.
The
architectural style is a hybrid, merging Sansovinian classicism with
Baroque exuberance, making Ca’ Pesaro a transitional work that stands
out among Longhena’s oeuvre. Its location on the Grand Canal, accessible
via the San Stae vaporetto stop, enhances its prominence, with the
facade best appreciated from the water.
The International Gallery of Modern Art at Ca’ Pesaro houses a vast
and diverse collection of 19th- and 20th-century artworks, built through
Biennale acquisitions, municipal purchases, and private donations. The
collection is renowned for its focus on Italian artists, supplemented by
significant international works, and is organized thematically and
chronologically across the first floor, with temporary exhibitions on
the second.
Key Highlights:
Italian Artists:
19th Century:
Works by Venetian painters like Ippolito Caffi, Guglielmo Ciardi,
Giacomo Favretto, and Pietro Fragiacomo showcase the city’s artistic
vitality, influenced by Impressionism and Post-Impressionism. National
figures like Giovanni Fattori, Telemaco Signorini, Giuseppe De Nittis,
Pellizza da Volpedo, Gaetano Previati, and Angelo Morbelli reflect
broader Italian trends.
Early 20th Century: The collection includes
masterpieces by Umberto Boccioni, Carlo Carrà, Felice Casorati, Filippo
De Pisis, Giorgio Morandi, Mario Sironi, Gino Rossi, Massimo Campigli,
Ottone Rosai, Giacomo Balla, Arturo Martini, and Giorgio de Chirico,
representing Futurism, Metaphysical painting, and Novecento movements.
Sculpture: A significant collection of sculptures by Medardo Rosso
(noted for his impressionistic wax works), Adolfo Wildt (Symbolist and
experimental), and Arturo Martini highlights Italy’s sculptural
innovation. The Wildt-Scheiwiller bequest (1990) added depth to this
section.
International Artists:
Gustav Klimt: Judith II
(Salomé) (1909), a sensual and iconic oil painting from the Venice
Biennale, is a centerpiece of the collection.
Auguste Rodin: The
Thinker, a bronze masterpiece, exemplifies Rodin’s monumental
contribution to modern sculpture.
Marc Chagall: The Praying Jew, a
poignant work reflecting Chagall’s spiritual and cultural themes.
Wassily Kandinsky, Paul Klee, Henri Matisse, Joan Miró, Yves Tanguy,
Victor Brauner, and Roberto Matta: These artists represent Surrealism,
Abstract Expressionism, and other avant-garde movements, with works from
the De Lisi bequest (1961) and Sonnabend Collection emphasizing
surrealist themes.
Graphic Art and Photography: The museum’s Cabinet
of Drawings and Prints contains examples of major European artistic
currents, while a photographic library with 6,000 films and albums
supports scholarly research.
Long-Term Loans: Collaborations with the
Sonnabend Collection Foundation (New York) have brought works from late
20th-century movements like New Dada, Pop Art, Minimal Art, and Arte
Povera, extending the collection’s historical scope to the 1960s and
beyond.
Recent Acquisitions: In February 2019, the gallery acquired
32 works by Italian artists, including Giacomo Manzù, Scipione, and
Mario Sironi, further strengthening its 20th-century holdings.
The
collection’s core comprises award-winning or purchased works from early
Venice Biennales, reflecting the city’s taste for modern art. The Chiara
and Francesco Carraro Collection and other donations have added depth,
while the museum’s policy of long-term loans ensures a dynamic and
evolving display. The second floor hosts temporary exhibitions, often
featuring contemporary works or loans, fostering a dialogue between
historical and modern art.
The Oriental Art Museum, located on
the third floor, is a distinct entity within Ca’ Pesaro, housing
approximately 30,000 objects, primarily from Japan’s Edo period (armor,
inros, netsukes, and art by Koryusai, Harunobu, and Hokusai), alongside
Chinese and Indonesian pieces. While compelling, its exhibition setup is
considered somewhat dated compared to the modern art gallery.
The International Gallery of Modern Art at Ca’ Pesaro is a
cornerstone of Venice’s cultural landscape, bridging the city’s
Renaissance and Baroque heritage with modern artistic innovation. Its
establishment during the Biennale’s early years marked Venice’s ambition
to remain a global art center, countering its economic decline as a
maritime power. The gallery’s focus on Italian artists, alongside
international luminaries, underscores Italy’s contributions to modern
art movements like Futurism, Metaphysical painting, and Novecento, while
also showcasing Venice’s cosmopolitan engagement with global trends.
The palace’s transformation from a noble residence to a public
museum reflects broader shifts in Venetian society, where aristocratic
patronage gave way to civic stewardship. Duchess Felicita Bevilacqua La
Masa’s bequest was a pivotal act, aligning with the era’s push for
cultural democratization. The gallery’s ongoing relationship with the
Biennale ensures its relevance, as it continues to acquire works that
reflect contemporary tastes and critical perspectives.
The
library, specializing in 19th- and 20th-century art history, is a vital
resource for scholars, reinforcing Ca’ Pesaro’s role as a research hub.
Its participation in Google Arts & Culture, with high-resolution images
of works like Klimt’s Judith II, extends its global reach, making the
collection accessible to a broader audience.
Visiting Ca’ Pesaro offers a rich and multifaceted experience,
combining architectural splendor with artistic immersion. The museum is
open Tuesday to Sunday, with hours from 10:00 AM to 6:00 PM (April
1–October 31, last entry 5:00 PM) and 10:00 AM to 5:00 PM (November
1–March 31, last entry 4:00 PM). It is closed on Mondays, December 25,
January 1, and May 1, with exceptional openings on certain holidays
(e.g., December 25 and January 1, 2024). Tickets cost €14.00 (full
price, from May 16, 2025) or €11.50 (reduced for ages 6–14, students
15–25, seniors over 65, and Rolling Venice or ISIC cardholders), with a
school rate of €4.00 (September 1–March 15). The ticket includes access
to the Oriental Art Museum, and a Museum Pass (€50.00) grants entry to
11 civic museums, including the Doge’s Palace. Smartphone tickets are
accepted, and reservations are not typically required, though advised
for special exhibitions.
The museum is fully accessible to
physically impaired visitors and features a bookshop, cafe with a
terrace overlooking the Grand Canal, and restrooms on the ground floor.
The airy, naturally lit galleries, with picture windows, create an ideal
setting for viewing sculptures and paintings. The permanent collection
on the first floor is organized to trace the evolution from Venetian
19th-century art to post-World War II movements, with rooms dedicated to
specific artists or themes (e.g., Room 3 for Adolfo Wildt, Room 4 for
the De Lisi bequest). The second floor’s temporary exhibitions add
variety, while the Oriental Art Museum offers a contrasting cultural
perspective.
The museum’s location in Santa Croce, near
attractions like Palazzo Mocenigo, Ca’ d’Oro, and Chiesa di San Stae,
makes it part of a rich cultural itinerary. Visitors can reach it via
the ACTV Line 1 vaporetto (San Stae stop) or by foot from the Rialto
Bridge (approximately 10 minutes). The palace’s facade is a highlight
for those traveling by vaporetto or gondola along the Grand Canal.
Today, Ca’ Pesaro remains a dynamic institution, with a mission to be
a “completely renewed venue for exploring Italian and international
20th-century art” and a “dynamic museum that is constantly evolving and
open to comparison,” as articulated by the Fondazione Musei Civici di
Venezia. Its redesigned layout emphasizes Venetian taste for modern art,
fostering dialogues between historical and contemporary works through
loans and exhibitions. The collaboration with the Sonnabend Collection
Foundation has positioned Ca’ Pesaro as a European home for late
20th-century avant-garde movements, enhancing its global stature.
However, the museum faces challenges common to Venetian
institutions. Environmental threats, such as rising sea levels and acqua
alta, endanger the palace’s structure, requiring ongoing maintenance
funded partly by tourism revenue. The balance between tourism and
preservation is delicate, as heavy visitor traffic risks straining the
building and the city’s infrastructure. Additionally, the Oriental Art
Museum’s dated presentation suggests a need for modernization to align
with the main gallery’s innovative approach.
The museum’s
commitment to educational programs, particularly for children, families,
and schools, and its hosting of special events and learning courses,
underscores its role as a community and scholarly hub. Its accessibility
features and digital presence via Google Arts & Culture reflect efforts
to broaden its audience, though some visitors note that the temporary
exhibitions can overshadow the permanent collection, suggesting a need
for better integration.
The International Gallery of Modern Art at Ca’ Pesaro is a testament
to Venice’s ability to reinvent itself as a modern art capital, but its
identity raises intriguing questions. The collection’s heavy emphasis on
Italian artists, while a strength, can feel insular compared to global
modern art institutions, though international works by Klimt, Rodin, and
Kandinsky provide balance. The reliance on Biennale acquisitions and
donations has shaped a collection that is both eclectic and uneven, with
gaps in certain movements (e.g., Abstract Expressionism or Cubism) that
loans from collections like Sonnabend partially address.
The
palace’s Baroque architecture, while stunning, poses challenges for
modern art display. The ornate interiors, designed for aristocratic
living, can compete with the minimalist aesthetic of 20th-century works,
requiring careful curatorial choices to harmonize the two. The
redesigned layout, with its “narrative but evocative itinerary,”
succeeds in creating thematic links but risks prioritizing spectacle
over depth for casual visitors.
The museum’s role in Venice’s
tourism-driven economy is a double-edged sword. While it benefits from
global interest, the influx of visitors strains the city’s resources and
raises questions about sustainability. The Museum Pass and combined
ticketing with the Oriental Art Museum are strategic, but the latter’s
inclusion can feel like an afterthought for those focused on modern art,
suggesting a need for clearer differentiation in marketing.