A tour of Intesa Sanpaolo’s Veneto 18th-century collections finds its natural backdrop in the halls of Palazzo Leoni Montanari.
The works, of different provenance and not consistent with the history of the building, have been placed in four adjacent rooms and arranged according to the logic of shared iconographic themes. The decision to limit the collection to just a few rooms (deliberately chosen amongst the least spectacular from the point of view of stuccowork and frescoes) adequately excites the curiosity of visitors – at times especially drawn by the décor linked to the architecture of the building, whilst, in other cases, the paintings in the Intesa Sanpaolo collections are what appears most interesting.
Thirty-four works of art take us on a tour of Veneto 18th century painting across several of its production fields, allowing us to review all the painting genres that placed Venice and its school at the heart of the international art scene. At the time, the Serenissima masters were bywords from the court of France to those of several German princes, from Vienna to London to Saint Petersburg, and whenever it proved impossible to hire one of these artists who travelled all over Europe, it was desirable to at least obtain some of their works.
The itinerary centring on the Veneto 18th-century collection ends with Agostino Fasolato’s sculpture The Fall of the Rebel Angels, a veritable pyramid of sixty figurines carved out of a single block of Carrara marble nearly two metres high.