Judith II
Klimt at his most golden and dark — bought by Venice in 1910 before the legend.
This Photo was taken by Wolfgang Moroder. Feel free to use my photos, but please mention me as the author and send me a message. This image is not in the public domain. Please respect the copyright pr — CC BY-SA 3.0 · This Photo was taken by Wolfgang Moroder. Feel free to use my photos, but please mention me as the author and send me a message. This image is not in the public domain. Please respect the copyright pr — CC BY-SA 3.0 · Trapezaki — CC BY-SA 4.0 · Gianfranco Zanovello — CC BY-SA 4.0
The Guggenheim is more famous and friendlier to non-specialists; Ca' Pesaro is historically deeper, calmer, cheaper — and has the Klimt the other lacks. Modern-art lovers do both; the time-pressed start with Peggy.
Vaporetto 1 to San Stae then two minutes on foot, or walk from Rialto through Santa Croce's lanes in fifteen near-touristless minutes.
An hour for the modern floors, half more for the Oriental if it calls you — and the façade deserves a look from the vaporetto even if you never enter.
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Ca' Pesaro is the grandest Baroque palace on the Grand Canal, its heavy marble façade half a century in the building — and today it is Venice's gallery of modern art. An odd pairing that works: seventeenth-century palace halls showing Klimt, Rodin, Chagall and Miró. The star is Klimt's "Judith II", among his most famous and darkest golden works, bought by Venice from the 1910 Biennale while Klimt still counted as scandal. Around it hang a century of Biennale acquisitions — modern art's history as it passed through Venice. The top floor is a complete surprise: a museum of Oriental art — Japanese arms, lacquer and paintings gathered by a prince on an Asian journey. Two museums, one ticket, one palace.
Klimt at his most golden and dark — bought by Venice in 1910 before the legend.
Acquisitions since 1895 — modern art as it first arrived.
Samurai arms and Japanese lacquer in a Venetian attic — a complete surprise.
Santa Croce 2076, 30135 Venice