The Museo del Settecento Veneziano, housed in the Ca’ Rezzonico palace, is a premier museum of 18th-century Venetian art and culture, located in the Dorsoduro sestiere of Venice, Italy, at Dorsoduro 3136, 30123, overlooking the Grand Canal. Constructed between 1649 and 1756 by architects Baldassare Longhena and Giorgio Massari, the palace was originally built for the noble Rezzonico family, who produced Pope Clement XIII (born Carlo Rezzonico). Since 1936, it has served as a museum managed by the Fondazione Musei Civici di Venezia (MUVE), showcasing an opulent collection of paintings, frescoes, sculptures, furniture, and decorative arts that capture the splendor of Venice’s 18th-century aristocracy. Renowned for its Tiepolo frescoes, Rosalba Carriera pastels, and Pietro Longhi genre scenes, the museum offers a vivid glimpse into the Venetian Rococo period.
Ca’ Rezzonico was commissioned in 1649 by Filippo Bon, a patrician of
the Bon family, who sought a grand palace to reflect their status.
Baldassare Longhena, Venice’s leading Baroque architect (known for Santa
Maria della Salute, Palazzo Basadonna, and Sant’Antonin), designed the
palace, but construction stalled after Filippo’s death in 1652 and
financial difficulties. In 1682, the incomplete palace was acquired by
the Rezzonico family, Genoese bankers who had recently purchased
Venetian nobility. The Rezzonicos hired Giorgio Massari, a prominent
18th-century architect, to complete the palace between 1750 and 1756,
with interiors decorated by artists like Giambattista Tiepolo,
Giandomenico Tiepolo, and Gaspare Diziani.
The palace became a
symbol of the Rezzonico family’s ascent, particularly after Carlo
Rezzonico was elected Pope Clement XIII in 1758. The family’s wealth and
influence peaked in the 18th century, hosting lavish events in the
palace’s grand halls. After the Rezzonico line ended in 1810, the palace
passed through various owners, including the Pindemonte and Della Torre
families, and was briefly owned by Robert Browning and his son Pen
Browning in the 1880s, who died there in 1889 and 1912, respectively. In
1935, the Comune di Venezia purchased the palace, and in 1936, it was
transformed into the Museo del Settecento Veneziano, curated by Nino
Barbantini to display 18th-century Venetian art and furnishings, many
sourced from suppressed churches and palazzi.
Restorations in the
20th and 21st centuries addressed acqua alta (high tide flooding) and
structural decay, with significant work in 2001–2005 by MUVE and the
Soprintendenza per i Beni Architettonici, preserving the palace’s
frescoes and stucco work. The 2005 addition of the Pinacoteca Egidio
Martini enriched the collection with Renaissance and Baroque paintings.
Today, Ca’ Rezzonico is a flagship MUVE museum, alongside the Museo
Correr and Ca’ Pesaro, offering a comprehensive portrait of Venice’s
18th-century opulence.
Ca’ Rezzonico is located in the Dorsoduro sestiere, a culturally
vibrant district known for its artistic institutions and serene
ambiance, contrasting with the bustling San Marco sestiere. Positioned
on the Grand Canal, it is near the Accademia Bridge (300 meters), Chiesa
di Santa Maria della Carità (Gallerie dell’Accademia) (300 meters),
Chiesa di Santa Margherita (300 meters), Chiesa di San Raffaele
Arcangelo (400 meters), Palazzo Basadonna Giustinian Recanati (500
meters), Chiesa di Santa Maria dei Carmini (300 meters), Peggy
Guggenheim Collection (500 meters), and Palazzo Balbi (150 meters). Its
canal-front location offers stunning views, aligning with the prominence
of Palazzo Gussoni, Palazzo Barbarigo della Terrazza, and Palazzo
Barbarigo Minotto, and contrasting with the inland campos of San Zulian,
San Geremia, and La Maddalena.
The nearest vaporetto stop is Ca’
Rezzonico (Lines 1 and 5.1, 100 meters), with San Tomà (Lines 1 and 2,
300 meters) and Accademia (Lines 1 and 2, 300 meters) also accessible.
The Santa Lucia railway station is 1.1 km away, reachable by vaporetto
or a 15-minute walk, and Piazza San Marco is 1.2 km away, a 20-minute
walk via the Accademia Bridge. The Alilaguna service to Venice Marco
Polo Airport (13 km) is available at Zattere (600 meters). The palace’s
proximity to Dorsoduro’s cultural hubs ensures high accessibility,
similar to Peggy Guggenheim Collection and Santa Maria della Carità, but
less crowded than San Moisè or Zecca of Venice.
The museum is
open daily from 10:00 AM to 5:00 PM (April–October until 6:00 PM),
closed on Tuesdays, January 1, May 1, and December 25. Admission is €10
for adults, €7.50 for students and seniors, and free for children under
6 and MUVE Friend Card holders. The Museum Pass (€29) includes access to
Ca’ Rezzonico, Museo Correr, Ca’ Pesaro, and other MUVE sites. Guided
tours (€7) and audio guides (€6) are available in English, and the
museum is partially wheelchair-accessible, with ramps for the ground
floor but stairs to upper levels, unlike the fully accessible Peggy
Guggenheim Collection. Tickets can be booked via www.visitmuve.it, and
visitors should check tide forecasts via the Hi!Tide app, as acqua alta
may affect access. The museum’s canal-front setting and proximity to
Campo Santa Margherita enhance its appeal, offering a quieter experience
than San Moisè or Negozio Olivetti in San Marco.
Ca’ Rezzonico is a magnificent example of Venetian Baroque
architecture, begun by Baldassare Longhena and completed by Giorgio
Massari, blending opulent design with practical functionality. Its grand
scale and canal-front façade make it one of the most imposing palaces on
the Grand Canal, rivaling Palazzo Balbi and Palazzo Basadonna.
Exterior
The façade, facing the Grand Canal, is a three-story Baroque
masterpiece in white Istrian stone, designed by Longhena and completed
by Massari. It features:
Ground Floor: A rusticated base with a
large water portal, flanked by arched windows, designed for gondola
access, similar to Palazzo Basadonna’s fontego entrances. The portal’s
sculptural details, including a Rezzonico coat of arms, reflect the
family’s prestige.
First Piano Nobile: A grand serliana
(triple-arched window) with Corinthian columns and balustrades, flanked
by single-light windows, creates a rhythmic composition, echoing
Longhena’s style in Sant’Antonin.
Second Piano Nobile: A simpler
serliana with Ionic columns, topped by a dentilled cornice and small
oval windows, adding verticality, as noted by Deborah Howard in Venice &
the East.
Obelisks: Four small obelisk-shaped pinnacles crown the
façade, a feature reserved for Venetian admirals or capitani general da
mar, similar to Palazzo Balbi, symbolizing the Rezzonico’s civic
prominence.
The façade’s Baroque grandeur contrasts with the Gothic
fiorito of Palazzo Molin, the Renaissance purity of San Michele in Isola
and Zecca, and the modernist simplicity of Negozio Olivetti. The rear
courtyard, accessible via a land entrance, features a Gothic well and
garden, a rare urban oasis akin to Palazzo Basadonna and Palazzo
Barbarigo della Terrazza.
Interior
The interior, spanning
three floors, is a showcase of Baroque and Rococo opulence, with
Massari’s modifications enhancing Longhena’s original design. Key
features include:
Grand Staircase: A monumental double staircase,
designed by Massari, leads to the first piano nobile, adorned with
stucco and marble, rivaling the staircase of Palazzo Barbarigo Minotto.
Ballroom: The largest hall, spanning the palace’s width, features
Tiepolo frescoes (c. 1758) depicting mythological scenes, such as The
Triumph of Virtue, with gilded stucco by Gaspare Diziani, creating a
theatrical ambiance.
Portego: The central hall on the first piano
nobile is frescoed with allegorical figures by Giandomenico Tiepolo,
connecting to smaller salons with period furnishings.
Throne Room:
Decorated with gilded stucco and a Rosalba Carriera pastel portrait, it
reflects the Rezzonico’s papal connection.
Third Floor: Houses the
Pinacoteca Egidio Martini, with Renaissance and Baroque paintings, and
reconstructions of 18th-century interiors, including a pharmacy and
puppet theater.
The interior’s opulent decor contrasts with the
minimalist neoclassicism of La Maddalena and Nome di Gesù, aligning with
the Baroque richness of San Moisè, San Geremia, and San Carmini, but its
museum function sets it apart from active churches.
Ca’ Rezzonico’s collection is a treasure trove of 18th-century
Venetian art, showcasing the city’s Rococo splendor. Key works include:
Tiepolo Frescoes (c. 1758): The ballroom and portego feature
Giambattista Tiepolo’s The Triumph of Virtue and Nobility and Merit,
with vibrant colors and dynamic compositions, rivaling his works in San
Apostoli and Palazzo Barbarigo Minotto.
Giandomenico Tiepolo
Frescoes: Smaller salons display playful scenes, such as The Charlatan
and The New World, reflecting the younger Tiepolo’s satirical style, as
noted by MUVE.
The Marriage of Ludovico Rezzonico by Pietro Longhi
(c. 1751): A genre painting capturing 18th-century Venetian life,
displayed in the Longhi Room, with intimate scenes of domesticity,
unique among Venetian museums.
Pastel Portraits by Rosalba Carriera:
Delicate portraits, such as Portrait of a Lady, showcase her pioneering
pastel technique, complementing the collection’s elegance.
Pinacoteca
Egidio Martini: Includes works by Tintoretto, Guardi, and Canaletto,
adding Renaissance and Baroque depth, akin to Santa Maria della Carità’s
collection.
Decorative Arts: Murano glass chandeliers, lacquered
furniture, and Chinese porcelain reflect 18th-century Venetian luxury,
displayed in period rooms.
The collection’s focus on 18th-century art
complements Peggy Guggenheim Collection’s 20th-century focus and rivals
the Renaissance and Baroque masterpieces of Santa Maria della Carità,
San Giuseppe, San Zulian, and San Carmini, surpassing the modest decor
of San Biagio, Nome di Gesù, and Santa Margherita.
Ca’ Rezzonico embodies Venice’s 18th-century cultural zenith,
capturing the city’s aristocratic splendor before its decline under
Napoleonic rule. The Rezzonico family’s patronage, culminating in Pope
Clement XIII, mirrors the noble support seen in San Zulian (Zulian), San
Giuseppe (Grimani), San Geremia (Sagredo), and San Carmini (Morosini).
Its transformation into a museum in 1936 reflects Venice’s commitment to
preserving its heritage, akin to Santa Maria della Carità’s Gallerie
dell’Accademia, Santa Margherita’s auditorium, and Palazzo Barbarigo
Minotto’s opera venue. The Tiepolo frescoes and Longhi paintings
highlight Venice’s Rococo innovation, contrasting with the modern design
focus of Negozio Olivetti and the early Renaissance purity of San
Michele in Isola.
The palace’s location in Dorsoduro, near Campo
Santa Margherita, integrates it into a vibrant cultural district, less
tourist-heavy than San Marco’s San Moisè or Zecca. Its preservation
through MUVE and the Soprintendenza parallels efforts for San Carmini,
San Geremia, and Santa Maria della Carità, ensuring its legacy as a
window into Venice’s 18th-century opulence.
Ca’ Rezzonico is a top destination for art and history enthusiasts,
praised in Tripadvisor reviews (4.5/5, ranked among Venice’s top
museums) for its “breathtaking Tiepolo frescoes” and “authentic
18th-century ambiance.” Visitors highlight the ballroom’s “jaw-dropping
scale” and Longhi’s “charming scenes,” though some note the steep stairs
as a challenge for mobility-impaired guests, recommending the
ground-floor rooms. The Museum Pass (€29) is recommended for
cost-effective access, pairing Ca’ Rezzonico with Museo Correr and Ca’
Pesaro. Guided tours (€7) and audio guides (€6) provide context, and the
museum café offers canal views, enhancing the experience.
The
palace’s proximity to Campo Santa Margherita (300 meters) adds a lively
backdrop, with nearby attractions including:
Chiesa di Santa
Maria della Carità (Gallerie dell’Accademia) (300 meters): Venetian
masterpieces.
Chiesa di Santa Margherita (300 meters): Deconsecrated
auditorium.
Chiesa di San Raffaele Arcangelo (400 meters): Baroque
church with Guardi paintings.
Peggy Guggenheim Collection (500
meters): Modern art museum.
Dining options like Osteria alla Bifora
(300 meters) or Gelateria il Doge (350 meters) offer Venetian cuisine
and gelato.
For a family of four seeking affordable three-star
accommodation in Dorsoduro, options include Hotel Agli Alboretti (300
meters) or Hotel Tiziano (400 meters), bookable via Booking.com or
Tripadvisor. Visitors should book tickets online to avoid queues, check
acqua alta conditions via the Hi!Tide app, and plan weekday visits for a
quieter experience.