The Pinacoteca

The great masters of Italian painting

23 February 2024
30 June 2024

Free Entry

A fascinating journey through four centuries of masterpieces

Opening times

Monday through Friday 9.00am – 7.00pm
Saturday, Sunday, Holidays 9.00am – 8.00pm

Contact center

0425 460093
info@palazzoroverella.com

The Pinacoteca of the Accademia dei Concordi and of the Seminario Vescovile of Rovigo. A spectacular 22-metre-long 19th-century diorama. All in a single, prestigious collection.

Let yourself be accompanied on the discovery of an extraordinary journey through the masterpieces of four centuries, in the most prestigious collection in the city. A fascinating visit full of suggestions that will lead you to discover some of the moments in which Italian art has reached its maximum beauty.

A prestigious collection, created by the passion of some noble Rovigo families

Four centuries of beauty

From the Gothic to Giovanni Bellini, from the Venetian sixteenth century to the most important Venetian painters of the eighteenth century. The rooms of Palazzo Roverella host a review of paintings capable of offering a panorama of art history. An extraordinary journey that crosses the masterpieces of four centuries, in the most prestigious collection of the city. A collection created by the passion for painting of some noble Rovigo families who, with their donations, allow us today to admire a unique collection that contains some masterpieces by the greatest masters of Italian painting such as Giovanni Bellini, Tiziano Vecellio, Jacopo Tintoretto and Giambattista Tiepolo. Let yourself be seduced by the splendor of Italian painting.

Giovanni Bellini, Cristo portacroce

The Venetian sixteenth century

Despite its involvement in troubled political-military events, Venice in the sixteenth century was wealthy and powerful, cosmopolitan and secular, capable of promoting artistic and cultural ferment…

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The Venetian sixteenth century

Despite its involvement in troubled political-military events, Venice in the sixteenth century was wealthy and powerful, cosmopolitan and secular, capable of promoting artistic and cultural ferment.
The painters who worked in the lagoon city of the time were of such value as to impose the Venetian school as an expression of new figurative and chromatic trends. An expressive renewal that also attracts numerous artists from the western provinces of the Venetian Republic.
The most able and fortunate is Palma il Vecchio, present in the exhibition with a ‘Devote Meditation’ (that is, intended for personal contemplation) depicting the Madonna and Child between Saints Jerome and Helena. A work that can be placed around the middle of the second decade of the sixteenth century when Palma is still influenced by the late Bellini.

Giuseppe Nogari, Ritratto di Giovanni Tommaso Minadois

The portrait room

For the Accademia dei Concordi, the eighteenth century was a century of rebirth. Having obtained the protection of Venice, its representatives can turn to the art world…

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The portrait room

For the Accademia dei Concordi, the eighteenth century was a century of rebirth. Having obtained protection from Venice, its representatives can turn to the art world to honor the personalities who have brought prestige to the city, as well as the noble protectors themselves, with portraits.
Canon Ludovico Campo was in charge of contacting the artists and commissioning the works: he oriented himself towards Venice, so as to entrust himself to the most famous painters of the moment.
Giambattista Tiepolo paints the Portrait of Antonio Riccobono: at the peak of his career, he conceives a portrait of great expressive power and devoid of any celebratory emphasis. In 1745 Giambattista Piazzetta painted the Portrait of Saint Cajetan of Thiene, protector of the Academy. While, from 1759 is the Giulio Contarini da Mula by Alessandro Longhi, a masterpiece of Venetian portraiture of the time, both for its introspective strength and for the nuanced technique of the colors, similar to the pastels of Rosalba Carriera.

Bartolomeo Nazzari, Ritratto del doge Alvise Pisani

The portrait room

For the Accademia dei Concordi, the eighteenth century was a century of rebirth. Having obtained the protection of Venice, its representatives can turn to the art world…

Read more

The portrait room

For the Accademia dei Concordi, the eighteenth century was a century of rebirth. Having obtained protection from Venice, its representatives can turn to the art world to honor the personalities who have brought prestige to the city, as well as the noble protectors themselves, with portraits.
Canon Ludovico Campo was in charge of contacting the artists and commissioning the works: he oriented himself towards Venice, so as to entrust himself to the most famous painters of the moment.
Giambattista Tiepolo paints the Portrait of Antonio Riccobono: at the peak of his career, he conceives a portrait of great expressive power and devoid of any celebratory emphasis. In 1745 Giambattista Piazzetta painted the Portrait of Saint Cajetan of Thiene, protector of the Academy. While, from 1759 is the Giulio Contarini da Mula by Alessandro Longhi, a masterpiece of Venetian portraiture of the time, both for its introspective strength and for the nuanced technique of the colors, similar to the pastels of Rosalba Carriera.

Giovanni Biasin, Panorama di Venezia, diorama (dettaglio)

A breathtaking landscape

A painting on paper measuring 22 meters in length and 1.75 in height which depicts a spectacular view of the San Marco basin…

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A breathtaking landscape

A painting on paper measuring 22 meters in length and 1.75 in height which depicts a spectacular view of the San Marco basin, created by Giovanni Biasin on the occasion of the 1887 Universal Exhibition in Venice. At that time, panoramic views were very fashionable and Biasin during his numerous trips to Europe, especially on the occasion of exhibitions in which he had the opportunity to participate, was able to draw inspiration from them. It seems that to create it Biasin used sketches made from a boat inside the basin of San Marco and then defined the work in the laboratory, where he admirably combined the various sections of the view.

The Venetian sixteenth century

Giovanni Bellini, Cristo portacroce

Despite its involvement in troubled political-military events, Venice in the sixteenth century was wealthy and powerful, cosmopolitan and secular, capable of promoting artistic and cultural ferment.
The painters who worked in the lagoon city of the time were of such value as to impose the Venetian school as an expression of new figurative and chromatic trends. An expressive renewal that also attracts numerous artists from the western provinces of the Venetian Republic.
The most able and fortunate is Palma il Vecchio, present in the exhibition with a ‘Devote Meditation’ (that is, intended for personal contemplation) depicting the Madonna and Child between Saints Jerome and Helena. A work that can be placed around the middle of the second decade of the sixteenth century when Palma is still influenced by the late Bellini.