Venice 2025

Campo Manin

The bronze statue depicts Daniele Manin, a key figure in the Italian Unification (Risorgimento) and the leader of the 1848 rebellion against Austrian rule in Venice.

The buildings in the background showcase the classic Venetian Gothic style, characterized by:

• Ogive Arches: The pointed, “flame-like” windows and balconies on the pink building to the left are quintessential to Venice’s unique aesthetic.
• Symmetry and Light: The white and terracotta facades demonstrate the traditional Venetian approach of using light-colored stone (likely Istrian stone) to contrast with colorful plaster.

(notes provided by Google Gemini, the AI arm of Google)

Amare ed essere amati è sentire il sole da entrambi i lati.

Venice, March 26

Venice 2025

This painting is Alchemy (1947) by the American abstract expressionist Jackson Pollock.

It is one of the most significant works in the Peggy Guggenheim Collection in Venice. The photograph captures the painting’s complex, tactile surface, which Pollock created using his revolutionary “drip” or “poured” technique.

(notes provided by Google Gemini, the AI arm of Google)

Venice 2025

Peggy Guggenheim Museum

The sculpture in the foreground is titled “Maiastra” by Brancusi.

This piece is one of the earliest examples of Brancusi’s lifelong obsession with the “bird in flight” theme. He eventually created about 30 different variations of bird sculptures, moving progressively toward more abstract, vertical forms.

(notes provided by Google Gemini, the AI arm of Google)

Venice, March 26

How to celebrate big life moments in style in Venice

How to celebrate big life moments in style in Venice

Venice 2025

From inside the Peggy Guggenheim museum

Work in progress.

Green Door, Santa Maria della Salute

John Singer Sargent American

ca. 1904

“The following text appears in the entry for this work in: Stephanie L. Herdrich and H. Barbara Weinberg, "American Drawings and Watercolors in The Metropolitan Museum of Art: John Singer Sargent,” New York, 2000. For references to sources and illustrations mentioned in this text, see that catalogue:
About 1904 Sargent painted a series of images of the grand Baroque church of Santa Maria della Salute in Venice. The best-known works in this series (for example, “Santa Maria della Salute,” 1904, Brooklyn Museum of Art, New York, and “Santa Maria della Salute,” 1906, Joslyn Art Museum, Omaha, Nebraska) are characterized by careful, often measured, recording of architectural details from a low vantage point and dramatic croppings that emphasize the building’s monumentality. In 50.130.76, however, Sargent employs a stenographic technique to depict the main portal of the church so that the site is identifiable, in spite of the fluid and broad application of paint. This apparently impromptu sketch typifies the free and experimental works left in Sargent’s studio after his death, many of which were included in the Ormond gift to the Metropolitan.
Katharine Baetjer (curator, Department of European Paintings, The Metropolitan Museum of Art) identified the site.“

Doesn’t Everyone Go to Venice for a Guinness?

photo by Henri Cartier-Bresson, Venice, (1955)

Canal scene in Venice, Veneto region of Italy

Italian vintage postcard