The wooden Ponte dell’Accademia was built in 1933 as a temporary replacement for an 1854 iron bridge, but this span arched like a cat’s...
Three Venetian families originally lived at this 16th-century Grand Canal palace, and they didn’t agree on decor. When Archduke...
Palazzo Franchetti Caffè
Only in Venice could directions to a cafe sound like a fairy tale: pass through the wrought-iron gate and the ivy-covered courtyard...
Everything you've heard of Vivaldi from weddings and mobile ring tones is proved fantastically wrong by Interpreti Veneziani, which...
Ristorante San Trovaso
After the Accademia leaves you delirious with visual overload, come to your senses with fried calamari, polenta, sarde in saor and a...
Campo della Carità 1050 · interesting places nearby
Gallerie dell'Accademia information
Venice's historic gallery traces the development of Venetian art from the 14th to 18th centuries with works by Bellini, Titian, Tintoretto, Veronese and Canaletto among others. Housing it, the former Santa Maria della Carità convent complex maintained its serene composure for centuries until Napoleon installed his haul of Venetian art trophies here in 1807, since when there’s been non-stop visual drama inside its walls.
The gallery layout is loosely organised by style and theme, though restorations and works on loan have shuffled around some masterpieces.
The grand gallery you enter upstairs features vivid early works that show Venice's precocious flair for colour and drama. Case in point: Jacobello Alberegno's late 14th-century Apocalypse (Room 1) shows the whore of Babylon riding a hydra, babbling rivers of blood from her mouth. At the opposite end of the emotional spectrum is Paolo Veneziano’s 1553–59 Coronation of Mary (Room 1), where Jesus bestows the crown on his mother with a gentle pat on the head to the tune of an angelic orchestra.
UFO arrivals seem imminent in the eerie, glowing skies of Carpaccio’s Crucifixion and Glorification of the Ten Thousand Martyrs of Mount Ararat (Room 2) – Harry’s Bar was apt in naming its raw-beef dish after him. But Giovanni Bellini's Pala di San Giobbe (Room 2) shows hope on the horizon, in the form of a sweet-faced Madonna and Child emerging from a dark niche as angels tune their instruments. The martyrs surrounding them include St Roch and St Sebastian, suggesting that this luminous, uplifting work dates from the dark days of Venice's second plague in 1478.
Lock eyes with fascinating strangers across portrait-filled Room 4. Hans Memling captures youthful stubble and angst with the exacting detail of a Freudian miniaturist in Portrait of a Young Man, while Giorgione's sad-eyed Old Woman points to herself as the words 'with time' unfurl ominously in the background.
Venice's Renaissance awaits around the corner in Room 6, featuring Titian and Tintoretto. Tintoretto’s Creation of the Animals is a fantastical bestiary suggesting God put forth his best efforts inventing Venetian seafood (no argument here).
Artistic triumph over censorship dominates Room 10: Paolo Veronese’s Feast in the House of Levi, originally called Last Supper until Inquisition leaders condemned him for showing dogs, drunkards, dwarves, Muslims, and Reformation-minded Germans cavorting with Apostles. He refused to change a thing, besides the title, and Venice stood by this act of defiance against Rome. Follow the exchanges, gestures and eye contact among the characters, and you’ll concede that not one Turkish trader, clumsy server, gambler or bright-eyed lapdog could have been painted over without losing an essential piece of the Venetian puzzle.
Now that you've reached the halfway mark of Venice’s contributions to art history, you'll notice a lighter baroque touch and more down-to-earth subject matter. As you enter Room 11, you may feel observed by the gossipy Venetian socialites hanging over balconies in 1743–45 lunettes by Tiepolo. These charming ceiling details originally hung in the Scalzi Church, and were narrowly salvaged after 1915 Austrian bombings.
Rooms 12 to 17 are currently off-limits, but will eventually showcase Canaletto’s sweeping views of Venice and Giorgione’s highly charged La Tempesta (The Storm). Art historians still debate the meaning of the mysterious nursing mother and passing soldier with a bolt of summer lightning: is this an expulsion from Eden, an allegory for alchemy, or a reference to Venice conquering Padua in the War of Cambria?
Restored portrait galleries will feature larger-than-life Venetian characters: Lorenzo Lotto’s soul-searching Portrait of a Young Scholar; Rosalba Carriera’s brutally honest self-portrait; Pietro Longhi’s lovestruck violinist watching a twirling debutante in The Dance Lesson; and a saucy, fate-tempting socialite in Giambattista Piazzetta’s Fortune-Teller .
Finales don't come any grander than the Accademia's final suite of rooms. Room 20, which at the time of writing was closed to the public, features Gentile Bellini and Vittore Carpaccio's Venetian versions of Miracles of the True Cross, thronged with multicultural merchant crowds. Further on, the original convent chapel (Room 23) is a serene showstopper fronted by a Bellini altarpiece .
Ornamental splendours were reserved for the Scuola della Carita's boardroom, the Sala dell’Albergo (Room 24). Board meetings would not have been boring here, under a lavishly carved ceiling and facing Antonio Vivarini's wrap-around 1441–50 masterpiece, filled with fluffy-bearded saints keeping a watchful eye on boardroom proceedings.
Titian closes the Accademia with his touching 1534–39 Presentation of the Virgin . Here, a young, tiny Madonna trudges up an intimidating staircase while a distinctly Venetian crowd of onlookers point to her example – yet few of the velvet- and pearl-clad merchants offer alms to the destitute mother, or even feed the begging dog.