Drawing in Venice. Putting the words ‘drawing’ and ‘Venice’ together seems paradoxical. Writing on Venetian art has located creativity and artistic ambition in painting above all, emphasizing the materialism and sensuous effects achieved by Venetian artists.
Titian to Canaletto: Drawing in Venice
Titian to Canaletto: Drawing in Venice presents new research which traces continuities in Venetian drawing over three centuries, from around 1500 to the foundation of the first academy of art in Venice in 1750. The exhibition emphasizes the role of drawing from sculpture and from life in the education and identities of Venetian artists, and it reveals tensions between theory and practice in the activities of artists and of collectors.
Venetian artists used drawing for innovating and experimenting, or as a tool for research and observation; a variety of drawings were made and admired as works of art in their own right. The exhibition poses questions about the survival and value of drawings: does the fact that we have so few by Titian mean that he did not draw? Why were many Venetian drawings thought unworthy of collecting?
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