The Museum of Oriental Art (Museo d’Arte Orientale) in Venice, Italy, is a unique cultural institution housed within the Ca’ Pesaro, a magnificent Baroque palace in the Santa Croce sestiere along the Grand Canal. Located on the top floor of Ca’ Pesaro, which also hosts the International Gallery of Modern Art, the museum is renowned for its extensive collection of East Asian artifacts, primarily from Japan, China, Indonesia, and Thailand, amassed by Prince Henry II of Bourbon-Parma during his travels in Asia between 1887 and 1889. Established in 1928, it is one of Europe’s most significant collections of Oriental art, offering a fascinating glimpse into Asian cultures within the context of a Venetian palace.
The Museum of Oriental Art’s history is tied to both the adventurous
collecting of Prince Henry and the architectural grandeur of Ca’ Pesaro,
a palace that reflects Venice’s Baroque opulence and evolving cultural
role.
17th–18th Century: Construction of Ca’ Pesaro
Ca’ Pesaro
was commissioned in the mid-17th century by the Pesaro family, a
prominent Venetian noble family known for their wealth and patronage.
Designed by Baldassare Longhena, the architect of Santa Maria della
Salute, construction began in 1659 and was completed by 1710 under
Antonio Gaspari after Longhena’s death. The palace, intended as a grand
residence, became a symbol of the Pesaro family’s status, hosting lavish
events and housing their art collection.
1887–1889: Prince
Henry’s Asian Expedition
The museum’s collection originates from
Prince Henry II of Bourbon-Parma (1848–1909), an Italian nobleman and
adventurer who traveled through Japan, China, Indonesia, Thailand, and
other Asian regions between 1887 and 1889. Accompanied by his secretary,
Vittorio Emanuele Carrega, and supported by Italian diplomats, Prince
Henry amassed over 20,000 artifacts, including samurai armor,
lacquerware, ceramics, textiles, and prints. His collection, driven by a
passion for Asian culture rather than colonial exploitation, was
initially intended for a museum in Lucca, Italy, but was stored in Ca’
Pesaro after his return to Venice.
1928: Establishment of the
Museum
In 1928, the Italian state acquired Prince Henry’s collection
and established the Museo d’Arte Orientale within Ca’ Pesaro, which had
been purchased by the Municipality of Venice in 1898 to house the
International Gallery of Modern Art. The Oriental collection was placed
on the top floor, creating a unique juxtaposition of East Asian art in a
Baroque Venetian palace. The museum was curated to showcase the
diversity of Asian craftsmanship, with a focus on Japan’s Edo period
(1603–1868).
20th–21st Century: Expansion and Modern Role
The
museum has undergone several reorganizations, with conservation efforts
in the 20th and 21st centuries to protect delicate artifacts like
textiles and lacquerware from Venice’s humid climate. In 2016, the
collection was refurbished to improve display conditions, adding
interactive panels and multilingual labels. Managed by the Fondazione
Musei Civici di Venezia (MUVE), the museum remains a key component of
Ca’ Pesaro’s offerings, complementing the modern art gallery below. It
attracts scholars, art enthusiasts, and tourists, particularly those
interested in East Asian culture, and has benefited from Venice’s
growing focus on global cultural dialogue.
The Museum of Oriental Art is housed in Ca’ Pesaro, a Baroque
masterpiece that provides a stunning backdrop for its Asian collection.
The palace’s architecture, designed by Baldassare Longhena, is one of
Venice’s finest examples of 17th-century opulence.
Exterior
Grand Canal Facade: Completed in 1710, the facade is a tour de force of
Venetian Baroque, characterized by its dramatic scale and ornate
details. Spanning three stories, it features:
Ground Floor: A series
of rusticated arches for canal access, used for deliveries and gondola
entry, with diamond-pointed stonework adding texture.
First Piano
Nobile: A row of tall arched windows flanked by Corinthian columns,
creating a rhythmic elegance. The central section is highlighted by a
balcony with sculptural details.
Second Piano Nobile: Smaller arched
windows with decorative reliefs, topped by a dentilled cornice and
balustrade, giving the facade a majestic finish. The Istrian stone
cladding gleams against the Grand Canal, enhanced by sculptural masks
and garlands.
Location and Context: Positioned at Santa Croce 2076,
Ca’ Pesaro is between the Fondaco del Megio and Palazzo Mocenigo,
opposite Palazzo Flangini. Its Grand Canal setting, near the San Stae
vaporetto stop, makes it a prominent landmark, visible from vaporetti
and gondolas. The palace’s courtyard garden, accessible for events, is a
rare feature in Venice.
Structural Notes: Built on wooden piles
driven into the lagoon bed, the palace’s foundation withstands Venice’s
marshy terrain. Longhena’s design balances grandeur with functionality,
with deep foundations and robust stonework to combat humidity.
Interior
Museum Space: The Museum of Oriental Art occupies the top
floor (third floor) of Ca’ Pesaro, accessible via a grand staircase or
elevator. The exhibition rooms, originally part of the palace’s
secondary living quarters, retain some Baroque elements, such as stucco
work and high ceilings, but have been adapted with modern climate
control to protect delicate artifacts. The space is divided into
thematic sections for Japanese, Chinese, Indonesian, and Thai art, with
minimalist displays to highlight the collection.
Piano Nobile (Modern
Art Gallery): While the Oriental museum is on the top floor, the lower
piano nobile houses the International Gallery of Modern Art, with
frescoes by Bambini and Zelotti, and Murano glass chandeliers. Visitors
pass through these opulent halls en route to the Oriental collection,
creating a contrast between Venetian Baroque and Asian minimalism.
Courtyard: The central atrium, surrounded by arches and loggias, is used
for museum events and temporary exhibitions. Its marble floor and
sculptural details reflect the palace’s original grandeur, though it is
not part of the Oriental museum’s main display.
The Museum of Oriental Art houses one of Europe’s most comprehensive
collections of East Asian art, with over 20,000 artifacts from Prince
Henry’s expedition. The collection focuses on Japan’s Edo period but
includes significant items from China, Indonesia, and Thailand.
Japanese Art (Edo Period, 1603–1868):
Samurai Armor and Weapons: Over
200 pieces, including kabuto (helmets), katana swords, and inro
(lacquered boxes) with netsuke carvings. Highlights include a complete
samurai armor set with intricate lacquerwork and a collection of tsuba
(sword guards) showcasing Edo craftsmanship.
Lacquerware: Exquisite
maki-e (gold-dusted lacquer) boxes, trays, and furniture, demonstrating
Japan’s mastery of this technique. Notable items include a 17th-century
writing desk with floral motifs.
Ukiyo-e Prints: A collection of
woodblock prints by artists like Utagawa Hiroshige and Kitagawa Utamaro,
depicting scenes of everyday life, kabuki actors, and landscapes.
Textiles and Kimonos: Embroidered silk kimonos and obi sashes,
showcasing intricate patterns and dyeing techniques.
Ceramics and
Porcelain: Edo-period Imari and Kutani wares, with vibrant colors and
delicate designs, used for tea ceremonies and display.
Chinese
Art:
Porcelain: Ming (1368–1644) and Qing (1644–1912) dynasty vases,
plates, and figurines, including blue-and-white porcelain with dragon
and floral motifs.
Jade and Ivory: Carved jade ornaments and ivory
sculptures, reflecting Chinese imperial craftsmanship.
Paintings and
Calligraphy: Scroll paintings and calligraphic works, though fewer in
number, showcasing traditional Chinese aesthetics.
Indonesian and
Thai Art:
Textiles: Batik fabrics from Java, with intricate patterns,
and Thai silk weavings used in royal ceremonies.
Sculptures: Buddhist
statues from Thailand, including bronze and wood figures of the Buddha,
and Indonesian kris daggers with ornate handles.
Masks and Puppets:
Javanese wayang kulit shadow puppets and ceremonial masks, reflecting
Southeast Asian theatrical traditions.
Display and Interpretation:
The 2016 refurbishment introduced modern display cases, interactive
panels, and multilingual labels (Italian, English, French). The
collection is organized thematically by region and medium, with sections
on daily life, warfare, religion, and art. Videos and touchscreens
provide context on Prince Henry’s travels and Asian cultural practices.
Notable Artifacts:
A 17th-century Japanese palanquin, used by
nobility, showcasing intricate lacquer and gold leaf.
A Qing dynasty
jade seal, symbolizing imperial authority.
A Thai Buddha statue with
gold leaf, reflecting Theravada Buddhist iconography.
Criticisms:
Some visitors note that the collection, while extensive, lacks the depth
of major Asian museums (e.g., Tokyo National Museum). The top-floor
location can feel cramped compared to the spacious modern art gallery
below, and limited English signage in older sections may challenge
non-Italian speakers.
The Museum of Oriental Art is a cultural bridge between Venice and
East Asia, reflecting the city’s historical role as a global crossroads:
Venetian Globalism: Venice’s maritime trade with Asia, via routes
like the Silk Road, contextualizes the museum’s collection. Prince
Henry’s acquisitions echo Venice’s cosmopolitan history, connecting the
Fondaco dei Tedeschi’s trade legacy to 19th-century exploration.
Prince Henry’s Legacy: The collection reflects a rare Italian
perspective on Asian art, driven by personal passion rather than
colonial ambition. Henry’s diplomatic connections and meticulous
documentation (via Carrega’s notes) add scholarly value to the
artifacts.
Baroque Context: Ca’ Pesaro’s opulent setting contrasts
with the minimalist elegance of Asian art, creating a unique dialogue
between Venetian excess and Eastern restraint. The palace’s history as a
noble residence enhances the collection’s prestige.
Cultural
Dialogue: The museum promotes cross-cultural understanding, with
exhibitions and events (e.g., tea ceremony demonstrations, calligraphy
workshops) fostering appreciation of Asian traditions in a European
context.
Hidden Gem: Less crowded than San Marco Basilica or Doge’s
Palace, the museum offers a serene experience, appealing to art
historians, Asian culture enthusiasts, and those exploring Santa Croce’s
quieter cultural sites.
Location: Ca’ Pesaro, Santa Croce 2076, 30135 Venice, Italy. On the
Grand Canal, near the San Stae vaporetto stop. GPS: 45.4413°N,
12.3315°E. Approximately 1.2 km northwest of Piazza San Marco and 600
meters southeast of Santa Lucia Station.
Access:
By Vaporetto:
Take Line 1 to San Stae (2-minute walk). From Piazzale Roma, it’s a
5-minute vaporetto ride or 10-minute walk. From Rialto Bridge, take Line
1 or walk via Strada Nova (10–12 minutes).
By Foot: From Piazza San
Marco, walk north via Campo Santo Stefano and Campo San Polo to San Stae
(15–20 minutes). From Santa Lucia Station, follow Rio Terà Lista di
Spagna to San Stae (7–10 minutes).
By Gondola/Water Taxi: Gondola
tours along the Grand Canal offer views of the facade (€80–€120 for 30
minutes). Water taxis stop at Ca’ Pesaro’s water gate (€60–€100).
Visiting:
Opening Hours: Tuesday–Sunday, 10:00 AM–6:00 PM
(April–October), 10:00 AM–5:00 PM (November–March). Last entry 1 hour
before closing. Closed Mondays, January 1, May 1, December 25. Check
www.visitmuve.it for updates.
Cost: €10 (adults, includes
International Gallery of Modern Art), €7.50 (students, seniors over 65,
MUVE Friend Card), €3 (children 6–14), free for children under 6,
disabled visitors, and ICOM members. Museum Pass (€35) grants access to
11 MUVE museums. Tickets available on-site or at www.visitmuve.it.
Dress Code: No strict dress code, but comfortable attire is recommended
for exploring the multi-floor museum.
Guided Tours: Audio guides (€5)
available in Italian, English, and French. Guided tours (€10–€15) can be
booked via MUVE (+39 041 270 0370, info@fmcvenezia.it). Private art
tours (e.g., Viator, €40–€80) include Ca’ Pesaro.
Tips for
Visitors:
Best Time: Visit early morning (10:00–11:00 AM) for minimal
crowds and soft light in the galleries. Late afternoon (3:00–5:00 PM) is
quiet in Santa Croce. Spring (April–May) or fall (September–October)
offer mild weather.
Photography: Non-flash photography allowed for
personal use. The facade is best captured from a vaporetto or the
opposite bank near Palazzo Flangini. Inside, use low-light settings for
delicate artifacts.
Accessibility: The museum is
wheelchair-accessible via elevators. San Stae vaporetto stop has ramps.
Contact MUVE for assistance (+39 041 270 0370).
Nearby
Attractions:
Fondaco del Megio (3-minute walk): Historic millet
depot, now a school.
Palazzo Mocenigo (3-minute walk): Museum of
Textiles and Costumes.
Ca’ d’Oro (5-minute walk): Gothic palace with
Galleria Giorgio Franchetti.
San Stae Church (2-minute walk): Baroque
church with Tintoretto paintings.
Rialto Bridge (10-minute walk):
Iconic Grand Canal crossing and market.
Dining Nearby: Try Antiche
Carampane, Osteria Mocenigo, or Trattoria al Ponte del Megio for
Venetian cuisine within a 5-minute walk.
Tours: Santa Croce walking
tours (e.g., Viator, €30–€60) include Ca’ Pesaro. Grand Canal boat tours
(e.g., GetYourGuide, €30–€60) highlight the facade. Audio guides (e.g.,
Rick Steves app) provide context.
Contact: Fondazione Musei Civici di
Venezia, +39 041 270 0370, info@fmcvenezia.it, www.visitmuve.it. Tourism
info: Venezia Unica, +39 041 2424, info@veneziaunica.it,
www.veneziaunica.it.
The Museum of Oriental Art remains a vital cultural institution,
adapting Ca’ Pesaro’s Baroque legacy to a global narrative:
Preservation: The 2016 refurbishment addressed humidity damage to
textiles and lacquerware, with climate-controlled cases and
UV-protective lighting. The MOSE flood barrier (2020) mitigates acqua
alta, but climate change threatens the palace’s foundation. MUVE’s
funding and ticket revenue support ongoing conservation.
Cultural
Role: The museum fosters dialogue between Venice and Asia, with
exhibitions and events (e.g., Japanese tea ceremonies) promoting
cultural exchange. Its coexistence with the modern art gallery
highlights Ca’ Pesaro’s versatility as a cultural hub.
Tourism
Context: Venice’s 30 million annual visitors strain Santa Croce, but the
museum’s ticketed entry ensures controlled access. The 2024–2025 €5
day-tripper fee supports infrastructure, benefiting sites like this.
Challenges: The top-floor location limits space for large exhibitions,
and some visitors find the collection less comprehensive than Asian
museums. Increased digital interpretation could enhance accessibility
for non-Italian speakers.