Yes, Venice is scarlet, or better, Venice is the scarlet. The history, fortunes and wealth of the city and its dominion were dyed in red for a long time. An object of personal desire and distinction, of privileges and prohibitions, the colour red in Venice was at the centre of trading activities, political manoeuvres, and even geographic enterprises, but it was also a precious stuff of art, a secret science, jealously kept, preserved and pursued by painters, dyers, alchemists and inventors, who in Venice were often one and the same.
\nThe six works gathered for the exhibition organized by the Gallerie Nazionali in Palazzo Barberini \u2013 together and yet each one in its exceptional singularity \u2013 embody the different ways in which the \u201csense of red\u201d of the venetian painters weaves a thick visual and symbolic web, intertwining civic values, religious passions, mundane feelings, private devotions, professional pride.
\nThe paintings of Lotto, Savoldo and Cariani \u2013 from the Metropolitan Museum of New York, the Louvre, the Prado and the Accademia Carrara of Bergamo \u2013 hang in a subtle balance and in a dialogue between centre and periphery, Venice of \u201cterraferma\u201d and Venice \u201cda mar\u201d, but exhibit, perhaps just for that very reason, a surprising originality. In their canvases the stuff of painting transmutes in painting of the stuff, acquiring its variable texture, its changing shades, its multiple meanings. Such a sensual tonality fuses together, and sometimes confuses, different traditional genres, the portrait, the biblical story, the devotional painting, the biographical celebration.
\nIn conclusion, six magnificent \u201cstudies in scarlet\u201d, we can only unravel, isolate and expose inch by inch, as Sherlock Holmes himself would have said.<\/p>\n","protected":false},"excerpt":{"rendered":"
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