Museum Monday: Glory of Venice at Denver Art Museum

My memories of the Denver Art Museum growing up were going on the chaotic free days. Trying to peer over the rabble of families or fight to one of the children activities areas but failing due to the mass of people. As I got older, I tended to only go to that museum for big events, things like the Tutankhamen exhibit in 2010, Van Gogh in 2013, Cartier in 2015, or Star Wars in 2016. But I decided for Star Wars I’d become a member and try to go more often. It is down the street (sort of) from my office, and I imagined popping over during a lunch break or on a Friday evening. I finally made good on that plan, going to DAM a Friday night 2 weeks ago. I didn’t know what to expect. I wasn’t going during one of the events, but instead just going to see Glory of Venice, as I knew it was closing 2 days later.

I didn’t know what to expect. I wasn’t going during one of the events, but instead just going to see Glory of Venice, as I knew it was closing 2 days later. It was fairly quite and peaceful compared to the previous times I’d visited. Sure there were people in Glory of Venice. A few couples on dates, but mostly a lot of elderly out on a Friday night. I bumped into a private tour and hung around listening to a few of the tidbits and trivia the docent provided. But mostly, it was deserted. I could sit and stare up at the marvelous works alone save for the DAM minders.

One of my favorite works I saw that night is called The Triumph of Venice oil painting done in 1737 by Pompeo Girolamo Batoni. It had a backdrop of Venice’s famous St Marks square and the Doge palace, but in front, numerous cherub-like children played around beautiful roman figures like Minerva, Hercules, Neptune, or a personification of Venice herself with winged Lions drawing her chariot. This is a massive piece, taking up the entire room, and it was amazing just staring at small parts and taking in the detail. Easily my favorite piece, here are some close ups:

As I wandered the exhibit, I also marveled at the well-done atmosphere. The lighting, music, and overall design was spot on and reminded me of my time in Italy.

The next piece that gave me a double take was one panel of the Altarpiece of Saints Peter and Paul tempera created around 1439–1443 painted by Jacobello del Fiore and his follower. It’s the last panel, gilded with bright gold. What caught me off guard were people watching demons take a sinner away.

I didn’t take a lot of photos, mostly because all I had was my cell phone, and it just doesn’t take good photos, but also because the lighting made taking far away photos hit the small texture in the oils making it not look that great. This next painting caught my eye for the angel holding some white lilies. It’s called Annunciation, 1500s, by Giovanni Bellini.

The museum laid out different themes for the various rooms, this one in the Holy Family room called The Flight into Egypt in 1515, by Vittore Carpaccio was my favorite of that grouping. The gold on Mary’s cloak was stunning in person.

Another Vittore Carpaccio that I liked were the angels in The Blood of the Redeemer in 1496.

Another section moved away from religious and into the individual, and this Portrait of a Man in Armor, in 1512 by Sebastiano del Piombo was very well done.

The last room had multiple Titian paintings, of which this part of Madonna and Child with Saints Catherine of Alexandria and Dominic, and a Donor (1513) facinated me. I loved the way Catherines hair and clothing were done.