1111Paolo Veronese's rebirth between Venice and New York
Two canvases, facing each other, for two exhibitions, laden with glory and color, framed by curls and gold-plated vases, will be all that you can see and know about the maturity of Paolo Veronese: subtracted from darkness, humidity, candle smoke, shavings, and nearly five centuries of dust. Thanks to the care and deep interest of Venetian Heritage and the support of Bulgari who financed the restoration, the two works from the church of San Pietro Martire in Murano and depicting "San Girolamo in the Desert" and "Sant'Agata in prison visited by St. Peter" two exhibitions will please the eyes of the visitors in sequence, in Venice first, in New York next. The first, titled "Murano painting by Paolo Veronese restored by Venetian Heritage with the support of Bulgari", will be inaugurated at the Gallerie dell'Accademia on May 11, while the other "Veronese in Murano: two Venetian masterpieces restored" will be inaugurated October 24 at the Frick Collection in New York, one of the most beautiful art collection seats in the world. The profitable exchange of works and venues, the ever closer embrace between Venice and New York, the ability to value works that almost no one had ever seen but which, once removed from the darkness, again shine with the immense palette of Veronese, they tell how (even) small is beautiful.
Curious, and therefore meritorious, the story of the two great paintings painted by Veronese in 1566 and commissioned by Francesco degli Alberi, confessor of the convent of Santa Maria degli Angeli in Murano, who originally had placed the works in the private chapel beside the church. A century later the paintings were transferred to the nearby church of Santa Maria degli Angeli and embellished by the rich golden woody frames.
During the French rule, at the beginning of the nineteenth century, the church of Santa Maria degli Angeli was consecrated and some of the works, miraculously saved, were transferred to the nearby church of San Pietro Martire. They were dark ages, in all senses. The unfortunate position, water infiltration, all that cold, lack of care, or the wrong kind of care, like some non-original repairs, with some parts even tear: a year of restoration (cost €62,000, certainly not a waste) and the canvasses look 500 years younger.
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