Doge's Palace Ticket and Guided Tour - Tour Venice Venice Doge's Palace Ticket and Guided Tour “It was good to do the tour. . . as expected, you meet as a group, you get headsets, you walk through, and the guide explains things. It was good in that there were interesting things to hear eg the use of the Venetian Mask and Napoleon destroying the Venetian Lion images etc, and the building is very beautiful. ...Leeanne M., Australia – See more reviews Latest booking 2 days ago Sells out quickly No booking or credit card fees Instant confirmation You'll receive your confirmation right away by email Downloading... What To Expect Explore the richly decorated rooms of the Doges Palace as you relive the European Middle Ages. Specifications Clock Tower in St. Mark's Square Duration: Print voucher. You will not have access to the tour without this voucher. Languages: Doge's Palace  Venice City Tours & Sightseeing  City Tours & Sightseeing Description The Palazzo Ducale represented for centuries the seat of the Venetian political power. In these splendid rooms, plastered and immersed in hundreds of masterpieces of painting, the Duke and his Council controlled the fate of a thousand-year old republic.

You'll live it together with a guide who will show you the halls of power, plunging you in a very particular historical context: the European Middle Ages and the immediately following centuries. You'll be surprised with the rich details of the gold staircase and the realism of the scenes depicted by many artists who have decorated this building. You will relive the anguish of the prisoners crossing the famous Bridge of Sighs, and entering the Venetian prisons, famous for hosting Giacomo Casanova. An unforgettable tour not to be missed! Includes Entrance fee to the Palazzo Ducale Audio receiver device* Optional trip to Murano Island** Excludes April to October Schedule (Summer) Morning departure: English, German, French, Spanish daily / Italian every Saturday only (visit can be bilingual) Afternoon departure is in English only November to March Schedule (Winter) English: daily French: Tuesday, Thursday and Saturday Spanish: Wednesday, Saturday, Sunday (the visit can be bilingual) Please Note *For groups of 10 or more people **The optional trip to Murano Island will take another two hours. Morning departures and afternoon departures will meet at the Clock Tower in St. Mark's Square. We recommend you wear comfortable shoes.

Children 5 years old and below are free of charge. For security reasons sacks, bags or knapsacks are not allowed inside Doge's Palace. This tour is not fully accessible for wheelchair users or people with walking disabilities. The tour does not operate during religious holidays and in cases of exceptional high tide and bad weather. Cancellation Policy Free cancellation: 8 days or more prior to start date of activity. 20% Cancellation Fee (80% reimbursement): between 4 to 7 days prior to date of activity. 100% Cancellation Fee (no reimbursement): 3 days or less prior to date of activity. Price & Options Doge's Palace (Palazzo Ducale), Venice - information & booking Doge's Palace (Palazzo Ducale), Venice - information & booking Ticket types, opening times, how to gain admission The Doges's Palace (Palazzo Ducale), Venice, Italy - information and ticket reservation [ Click here for information on the 'Secret Itineraries' tour of the Doge's Palace . The 'Secret Itineraries' tour is NOT included in the standard ticket. ] The Palazzo Ducale, or Doge’s Palace, was the seat of the government of Venice for centuries.

As well as being the home of the Doge (the elected ruler of Venice) it was the venue for its law courts, its civil administration and bureaucracy and — until its relocation across the Bridge of Sighs — the city jail. The system of elected doges was as singular as everything else about this very singular city, and lasted for 1000 years, from the election of Paolo Lucio Anafesto in 697AD to the deposing of Ludovico Nanin in 1789. The Serene Republic was just that, a republic, and guarded fiercely against hereditary rule, though as we will see that principle was increasingly shaped to the advantage of the ruling classes. A vast bureaucracy of elected civil servants, committees and councils was presided over by the only figure elected for life, the doge. The doge sat on numerous of the committees and thus played a huge role in steering policy; the principle of rule for life was an attempt to establish stability, a mature check on the whims of temporarily elected officials … not unlike Britain’s House of Lords. But the Venetians were wary of the corruptions of lifetime rule and established a similarly complex system of checks on the doge.

All his mail was read first by the censor; all foreign dignitaries were received in committee rather than by the doge alone. Transgressions were taken seriously. The palace’s most impressive room, the Sala del Maggior Consiglio (the Hall of the Great Council), has a frieze of paintings of the first 76 doges … with the exception of Marino Faliero (or Marin Falier). The 55th doge was appointed on 11 September 1354 and by 1355 was plotting a coup, after which he would declare himself prince. Perversely this was fired by a hatred for the nobility, and more plausibly by his senility (he was already in his seventies). The hapless Falier pleaded guilty, was beheaded, mutilated and condemned to Damnatio Memoriae, whereby all traces of a person would be expunged from history or memory. His place on the wall of paintings is empty, covered by a black veil.

First raised in the ninth century, the Palazzo Ducale was rebuilt many times thereafter, and it was with the construction of the Sala del Maggior Consiglio in 1340 that the present building really took shape. Work continued until 1420, largely under the guidance of architect and sculptor Filippo Calendario. The new hall was built parallel to the waterfront and entered by the Porta della Carta (although tourists today don’t use this entrance). This grand entrance was built by Giovanni and Bartolomeo Bon in 1438, a commission from the then doge, Francesco Foscari. One of the many acts of vandalism perpetrated by Napoleon upon Venice was the destruction of the sculptures of Foscari and his lions here (the smashing undertaken by the chief of the stonemason’s guild). The sculptures you see now are later replicas. Porta della Carta means ‘paper door’, probably so named because city decrees were once nailed here for the public to see. The new palace was enormously impressive.

Huge walls of white limestone and pink marble were softened by porticos, finely wrought loggias, a crenellated roof and a series of balconies by Pier Paolo and Jacobello Dalle Masegne. The Palazzo Ducale is a superb example of Venetian Gothic architecture and even later vandalism didn’t spoil it. Work on the palace has barely stopped in the intervening centuries (today parts of it can, rather annoyingly, be closed with little notice, but the building does receive constant care and restoration). So as well as good medieval carvings you will see fine 19th century copies, and probably not be any the wiser. The decoration is enormously elaborate and impressive. The 36 capitals on the lower colonnade of the building have carvings of beasts, flowers and representations of the months of the year. Didactic moral sculptures represent scenes such as the Judgement of Solomon, the Drunkenness of Noah and Adam and Eve with the Archangel Gabriel, and so on. You will enter the palazzo through a door next to the Lagoon, and enter an enormous courtyard, and the Arco Foscari.

Here we see the mix of styles that make up the palace, as successive doges tried to make the palace ever more magnificent. Antonio Rizzo built the eastern façade in 1485, an exercise in Renaissance classicism, decorated by Pietro, Antonio and Tullio Lombardo. The south and west sides meanwhile, are Gothic in flavour. Sansovino built an enormous staircase, the Scala dei Giganti, in the mid-16th century. Spavento, Scarpagnino and Bartolomeo Monopola completed the courtyard in around 1600. Climb the Scala dei Giganti, overlooked by huge statues of Neptune and Mars, and you reach the first-floor loggia. Here doges were crowned after a service in St Mark’s. Many of the paintings in the first area are workmanlike (there was a mass commission of work to replace paintings destroyed in a fire in 1577). Look on these and dream of the works by Titian, Bellini and Pisanello which were lost … there’s much better to come. See the Museo dell’Opera, displaying capitals from the exterior arcading of the palace.

The staircase beneath the south-east of the portico (the Scala d’Oro, or golden staircase) was designed by Sansovino and leads you to a succession of rooms from the 16th century. Notice the gilt stuccoes by Alessandro Vittorio in the ceiling to the staircase. Upstairs you’ll move through the doge’s private rooms to the Anticollegio, where the doge and council would meet foreign dignitaries. The Anticollegio has four Tintorettos (Vulcan’s Forge, Mercury and the Graces, Bacchus and Ariadne and Minerva and Mars, and Veronese’s Rape of Europa. You pass through the Sala degli Scarlatti by Pietro Lombardo, the Cappella Privata del Doge (St Christopher by Titian on the outside); the Sala delle Quattro Porte contains Titian’s Doge Antonio Grimani Kneeling before Faith.

The Sala del Collegio is a room by Palladio hung with canvases by Tintoretto; the Sala del Consiglio dei Dieci has works by Veronese; and the Sala dell’Armamento the remains of Guariento’s fresco, Paradise, wrecked in the fire. Then we move on to the Sala del Maggior Consiglio, the most magnificent room in the palace and then out over the Ponte dei Sospiri (Bridge of Sighs, constructed 1602) to the city’s ‘new’ prison. Before it was built, prisoners were kept in the eaves of the doge’s palace, (the Piombi or ‘leads’) or in the cellars (the Pozzi or ‘wells). You may view a location map here . Click for a fully zoomable Google Map here . Doges' Palace (Venice, Italy): Top Tips Before You Go - TripAdvisor Neighborhood Profile San Marco The most famous sestiere (district) in Venice has one of the world's most famous squares, St. Mark's (Piazza San Marco).

Anchored on one end by the basilica, clustered around it are restaurants, museums, shops, orchestras playing in the square, pigeons, the grand pink Doge’s Palace (Palazzo Ducale), the soaring campanile bell tower, an astrological clock tower, plus gorgeous cafes and restaurants like Florian and Quadri. Piazza San Marco is beloved by Venetians themselves. They book a table anytime, which offers a buffer from the fray. This grand outdoor drawing room attracts Venetians for a stroll too, especially late in the afternoon when the hoards of daytrippers thin out. It's simply a grand place to meet. Doge's Palace (Palazzo Ducale) - Venice, Italy - ItalyGuides.it - Prisons - If you imagine landing in Venice from the sea, as did those who came inland by ship, the first thing you see rising out of the water is the unmistakable shape of the Doge's Palace - the city's most famous building. The Palace is the most representative symbol of Venice 's culture, which, together with the Basilica of San Marco at the back and the Piazzetta in the forefront, forms of the most famous sceneries in the world.

For centuries the Doge's Palace had three fundamental roles: as the Doge residence, the seat of government and as the palace of justice. This was where some of the most important decisions for Venice 's, and even Europe's destiny were taken. Initially, when it was built in the IX century A.D. it was more like a castle than a palace with four sighting towers and high defensive walls. In fact, it was in a strategic position controlling the city, near to its sea access. Later, due to a series of fires and subsequent rebuilding, it became what we can see today - a splendid example of Venetian gothic architecture. This imposing building has the one feature typical of Venetian architecture: lightness. Despite its considerable size, the multi-coloured façade decorations and the splendid perforation of the Gothic loggias, like stone lace, give us an elegant structure that isn't heavy in appearance. There is also a real architectural "find": compared to most medieval palaces all over Italy, the Doge's Palace was built in the opposite way with the loggias down below and full walls above, whereas buildings like this normally had a huge base to make them easier to defend.

In Venice the state Palace had to be an expression of the Republic's special relationship with its citizens: one of trust and absolute fidelity. Venetians considered their government as legitimate not by imposition or divine right, like in other Italian medieval cities, but as an expression of the Venetians' will. The portico is already a special place, a masterpiece within an even bigger masterpiece: the thirty-six stone capitals on their arches are a marvellous example of medieval sculpture and give us a rich repertoire of symbolic figures: vice and virtue, saints, martyrs, knights, trades, birds and signs of the zodiac. From these arches the Doge watched public executions in the square and under the ninth arch, the one that stands out for the red of its marble, death sentences were announced. Doge's Palace (Palazzo Ducale) Tours & Tickets | Viator Tours & Tickets Venice ATTRACTIONS See all Doge's Palace (Palazzo Ducale) Until 1797, the Doges ruled the Venetian Empire and the Palazzo Ducale was where they ruled from.

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Learn more about how we use cookies and how to change your cookie settings | Close message The 10 Best Doge's Palace (Palazzo Ducale) Tours, Trips & Tickets - Venice | Viator Venice ATTRACTIONS See all Doge's Palace (Palazzo Ducale) Until 1797, the Doges ruled the Venetian Empire and the Palazzo Ducale was where they ruled from. A Venetian Gothic fantasy palace, it was one of the first things those arriving in Venice saw as their ships sailed through the lagoon and landed at St Mark's Square. The Doges lived here, where the government offices were also housed and justice was meted out. The Golden Book, listing all of Venice's important families and upholding the fact that only those listed in the book could be made Doge, was kept in the palace as well. It was an extremely political process ruling Venice, and residents were able to accuse others of wrongdoing by anonymously slipping a note into the Mouth of Truth.

Inside the palace is wonderful art (paintings by Titian, Tintoretto and Veronese), majestic staircases, the Doge's apartments and the prison cells, while outside sits the Bridge of Sighs and beautiful differing columns along the piazzetta. Death sentences were declared between the ninth and 10th columns, while executions were carried out between the freestanding ones in the piazzetta next to the lagoon; even today Venetians won't walk between them. A final chance at life was offered if the accused were able to walk around the edge of the third column on the seaward side of the palace. Travelers are welcome to try, although not one person ever succeeded. Practical Info The Doge's Palace (Palazzo Ducale) is located next to St Mark's Church in St Mark's Square. Vaporetto S. Marco/Vallaresso. Tours & Tickets A must see - Doges' Palace, Venice Traveller Reviews - TripAdvisor “Stunning architecture and history but some things missing” Reviewed 4 July 2016 It is hard to avoid cliches when writing about Venice.

The imagery of venice is so well known (even referenced in [popular computer Games and animated childrens movies) that it is hard to know where to start. The Doges Palace is one of the best examples of all that is attractive about Venice. A well preserved site of the former ruler of Venice it exemplifies the impressive architecture of the romantic city and unlike some other sites was not grossly overcrowded. It is also hosting a new and informative exhibition on the history and role of the Jews in Venice (I learned for example that Venice invented the term "ghetto" for a designated area where Jews where segregated but also that Jews played a leading role in the cultural and historical life of the city in the later renaissance times.). The scale is impressive and there are various other exhibitions on the role of the palace with good information for non Italian speakers. Staff were helpful and security tighter due to the exhibition but not obstrusive. But what it lacked and what Venice as a whole does not seem to have is an overall museum giving an overview of the history and cultural of one of the greatest Italian and European cities. Most other European cities seem to have this but I could not find it in Venice.

The Museum of Naval History is also currently closed so the military history of the one of the greatest European naval powers is also not available. There are plenty of stunning churches and many fine galleries, the canals are superb and pallazos (noble residences) but i think this is a bit of a gap for an otherwise impressive and visually stunning city. ps just one (obvious but worth repeating) point for parents of toddlers-the number and scale of the bridges can get very wearing especially as many of ther main ones get very crowded and are used for photo selfies. As a tourist is it also hypocritical to say it but overall the city risks drowning in a sea of day trippers as well as a long term risk from rising sea levels. Neverthelss if you like cities and European culture Venice is somewhere well worth visiting if you can afford it.... Visited June 2016 Reviewed 4 July 2016 via mobile Situated in St Mark's Square this well recognised building is a must to see. This was an amazing venue albeit a bit more expensive at €19 and additional costs for exhibitions in the Doges apartments. We took advantage of the hand held tour guide and a good guide book, however there are also guided tours.

Be prepared to queue and wear comfy shoes as there is a lot to see. It is immense and stuffed to the rafters with incredible sculptures and priceless paintings that in one room span over 15 metres. It covers a huge amount of the rooms and the history of the palace is so interesting and the sheer size of it overwhelming. You get to cross the Bridge of Sighs to visit the prison across a small canal and get a real sense of how it would have felt to be imprisoned there. Overall a great sight to see and worth the cost. Visited June 2016 Doge's Palace in Venice - Palazzo Ducale - Doge's Palace Tours Doge's Palace in Venice Venice Guggenheim Share The Doge’s Palace in Venice is one of the most iconic and popular destinations in this City of Canals. The Palazzo Ducale, as it also called, is a large gothic palace that has served as the residence of the various Doges of Venice over the centuries. The Doge of Venice was considered the Chief Magistrate of what was then known as the Most Serene Republic of Venice. Venice was a republic for over 1,000 years.

Although the Doge’s powers were somewhat loosely defined, he was kept in check by laws that forbade naming one’s own successor or appointing family members to positions of power. This who situation seems suspect, however, as the lineage of Venetian Doge’s is filled with members from a select groups of aristocratic Italian families. Now when you visit, you can go inside and take Doge’s Palace tours to see how the most wealthy and reputable families and leaders in Venice resided. Palazzo Ducale One of the facades of the Doge’s Palace in Venice faces outward toward the Venetian Lagoon, and another toward St. Mark's Square . It is believed that the Palazzo Ducale was constructed approximately between the years 1309 and 1324 by a designer named Filippo Calendario. The palace is one of the most incredibly decorated buildings in the city, a museum and gallery in its own right, and one that contains works by the likes of Titian and Tintoretto.

When you take Doge’s Palace tours with one of the knowledgeable guides, you will get full explanations of some of the most important works that are housed within the Palazzo Ducale, from Tintoretto’s Bacchus and Ariadne and Paradiso, to Guariento’s fresco of Paradise to the elaborately decorated and adorned rooms throughout the stunning palace. Veronese is just one of the other internationally renowned artists whose work is proudly exhibited in this beautiful palace in Venice. Venice Map Palazzo Ducale Venezia It is easy to arrange Doge’s Palace tours at the Palace. There is a modest fee to gain admission from Monday to Saturday and it is free to get in on Sundays and holidays. When you enter the Doge’s Palace in Venice, you will be awestruck with the sheer volume of paintings, the elaborate frescoes and furnishings, and the overall pomp and grandeur of the entire place. The Palazzo Ducale is a popular tourist attraction in the city of Venice for very good reason. As you float up to the palace by gondola you will begin to sense how it must have felt for the Doge’s of old to have arrived at their palatial residence through the canals of Venice.

There are so many attractions to choose from when visiting Venice that it can be somewhat difficult to decide on where to spend your time and what attractions to prioritize. If you are interested in art and architecture, you should put the Doge’s Palace on your list of museums and galleries to visit along with the Academy Gallery and the Venice Guggenheim . The Doge’s Museum is also just around the corner from St. Mark's Basilica . Venice Travel Resources Venice, the Jews and Europe | Palazzo Ducale | Venice June 19 – November 13, 2016 Venice, Palazzo Ducale, Doge’s Apartment Press preview Friday, June 17, 10 am – 3 pm entrance from Porta della Carta _ “The area was defined by two gates which, as pointed out by the Senate on 29 March, 1516, would be opened in the morning to the sound of the “Marangona”(the bell in St.

Mark’s belfry that established the city’s daily timetable) and closed at night at midnight by four Christian keepers, paid by the Jews and required to reside on site without their family in order to be better able to fulfil their supervisory duties. Moreover, two high walls were to have been built (but were never constructed) to enclose the area on the side of canals surrounding it, walling up all the banks on said canals. Two Council of Ten boats with guards paid by the new “castle-dwellers” would cruise along the canal around the island at night to ensure its security. On the following 1 April, the “grida” (“declaration”) was proclaimed in Rialto and from the bridges in every city district in which Jews resided.” Organised on the occasion of the fifth centenary of the creation of Venice’s Ghetto, curated by Donatella Calabi with the scientific coordination of Gabriella Belli and the contribution of a large pool of scholars, the “Venice, the Jews and Europe 1516 – 2016” exhibition aims to describe the processes that led to the creation, implementation and transformation of the first “fence” for Jews in the world.

At the same time, the exhibition expands to a wider horizon, embracing the relations established with the rest of the city and with other Jewish (and other) districts in Italy and Europe, to emphasise the fruitful relations between Jews and Venice and between Jews and civil society in the different periods of their long stay in the lagoon, in the Veneto area and in Europe and the Mediterranean. The intention is to establish a greater awareness of the cultural diversity present in cosmopolitan Venice at the beginning of the sixteenth century and the mix of knowledge, skills, customs that still comprise its most important legacy. The task has thus not only been one of surveying the special area of the three ghettos (Nuovo, Vecchio and Nuovissimo), but also one of reflection on the cultural and linguistic exchanges, the fine craftsmanship and trades that the Jewish community has shared with the Christian population and other minorities living in this extraordinarily important mercantile city. The time span considered goes beyond the fall of the Republic and the opening of the doors at the behest of Napoleon: the exhibition will also showcase the role of Jews in the age of assimilation and during the twentieth century.

Important paintings – by Bellini and Carpaccio, Foraboschi, Hayez and Poletti, Balla and Wildt to Chagall – architectural drawings of the period, volumes in very rare original editions, archival documents, liturgical objects and furniture, together with multimedia reconstructions will enable the visitor to learn about a long-term relationship that was marked also by permeability, close contacts and cultural exchange. The project’s initial premise is that the history of the institution of the Ghetto in Venice should be studied as part of the more general picture of the Venetian Republic’s administration of national, ethnic and religious minorities living in the city, capital of a “world economy”, as the historian Fernand Braudel called it. But it also sets out to explain how these relationships gradually broadened to a much vaster geographical area and have persisted over time, adapting to political, social and cultural changes.

In the early decades of the sixteenth century the Venetian Republic implemented a deliberate strategy of welcome, simultaneously offering guarantees and surveillance, which was more or less rigid with respect to the various national and religious communities; this welcome was extended to those communities that were important for the republic’s economic activities, such as North Europeans (with the Fondaco dei Tedeschi), the Orthodox Greeks (with a concession to build a church and a college at their expense) and, over the years, Albanians, Persians and Turks. The Jews, like the other minorities, were “precious” for the Serenissima (as we read in some documents): its judiciary, some nobles, Doge Leonardo Loredan himself, who was “Prince” at the time of the founding decree (29 March, 1516), were well aware of this.

Nevertheless, Venice, which had permitted the Jews in their territory to enter the city as war refugees – at at time when Europe was expelling them from Spain (1492) and Portugal (1496) – in the wake of the dramatic consequences of the league of Cambrai and the defeat of Agnadello, soon posed itself the question of how to treat the Jewish minority. “At stake was the defence of fundamental cultural values ​​for their perception of themselves. Namely”, according to Robert Bonfil, “all those values ​​that “the myth of Venice” deemed to be most essential of all: justice, freedom and prosperity, all rooted in good governance and not least in the defence of Christian ethics, without which neither justice nor prosperity were conceivable”. The decision not to expel the Jews but to keep them inside the ghetto was seen as the lesser evil and their enclosure, in itself an overt discrimination, ended up also becoming a useful defence, because the Jews, a politically weak entity outside the walls, became autonomous within them, almost masters of their own actions, and in many cases far freer than many other of Europe’s inhabitants and subjects who lived at the complete mercy of a doge, prince, pope or king.

In Venice, this Hazzer (a Hebrew word to define the fence), the Ghetto – adopted as a negative model throughout Europe as a physical reality and term – was gradually transformed into an independent institution, “a shield” as writes Riccardo Calimani, “which, despite the then rampant insecurity and despite all, offered powers and privileges that allowed it to be heard and to negotiate with the authorities outside, with a freedom of initiative that is in some cases surprising”. Cosmopolitan within – the Ghetto was home to German and Italian Jews, Levantine, Western and Portuguese Jews – it was therefore also a highly permeable space, in constant interaction with the outside world and, in primis with the city of Venice, itself extraordinarily multinational and multiethnic, either by conviction or pragmatism.

The exhibition at the Doge’s Palace, which takes us on a fascinating journey through art, history and culture, thus illustrates the distribution of Jewish settlements in Europe after 1492; the establishment of the first real ghetto in the world; the debate about its location; its growth and the urban and architectural shaping of successive expansions (the Ghetto Novo, the Vecchio and the Novissimo); relations with the rest of the city (the workshops at Rialto, the cemetery, the excavation of the Canale degli Ebrei), twentieth-century reintegration. The exhibition highlights the rules and also the prohibitions, abuse, conflicts and exchanges; it describes society in the Ghetto, made up of communities differing in religious ritual, languages ​​spoken, eating habits; and also the rich Jewish cultural production of the area. Alongside the narrative of the events marking the physical space of the Ghetto, the exhibition offers a meeting with important figures, as well as travel accounts and an overview of literature, music and theatre.

Divided into ten thematic and chronological sections in the rooms of the Doge’s apartments – Before the Ghetto, Cosmopolitan Venice, The cosmopolitan Ghetto, Synagogues, Jewish culture and the role of women, Trade between the seventeenth and eighteenth century, Napoleon: the opening of the gates and assimilation, The merchant of Venice, Collecting, collectors, the twentieth century – the exhibition is also accompanied by breathtaking multimedia systems and innovative technology, developed by Studio Azzurro. “Venice, the Jews and Europe, 1516 -2016” is promoted by the City of Venice and by the Fondazione Musei Civici di Venezia, with the support of “I 500 anni del Ghetto di Venezia” Committee, the Jewish Community of Venice and the Union of Italian Jewish Communities, with the contribution of the Veneto Region, Save Venice Inc, the Gladys Krieble Delmas Foundation, Venetian Heritage, the David Berg Foundation New York, and the Fondazione Ugo e Olga Levi. The multimedia projects been realised in cooperation and with the support of the Fondazione di Venezia. The catalogue published by Marsilio Editori offers texts by a variety of authors.

Comune di Venezia e Fondazione Musei Civici di Venezia Partners Comitato “I 500 anni del Ghetto di Venezia” Comunità Ebraica di Venezia Brooklyn Museum Brooklyn Museum Walt Whitman and the Arts in Brooklyn Claude Monet (French, 1840-1926). The Doge's Palace (Le Palais ducal), 1908. Oil on canvas, 32 x 39 in. (81.3 x 99.1 cm). Brooklyn Museum, Gift of A. Augustus Healy, 20.634 (Photo: Brooklyn Museum, 20.634_SL1.jpg) Claude Monet (French, 1840-1926). The Doge's Palace (Le Palais ducal), 1908. Oil on canvas, 32 x 39 in. (81.3 x 99.1 cm). Brooklyn Museum, Gift of A.

Augustus Healy, 20.634 (Photo: Brooklyn Museum, 20.634_SL1.jpg) Claude Monet (French, 1840-1926). The Doge's Palace (Le Palais ducal), 1908. Oil on canvas, 32 x 39 in. (81.3 x 99.1 cm). Brooklyn Museum, Gift of A. Augustus Healy, 20.634 (Photo: Brooklyn Museum, 20.634_framed_reference_PS1.jpg) Claude Monet (French, 1840-1926). The Doge's Palace (Le Palais ducal), 1908. Oil on canvas, 32 x 39 in. (81.3 x 99.1 cm). Brooklyn Museum, Gift of A. Augustus Healy, 20.634 (Photo: Brooklyn Museum, 20.634_bw.jpg) Claude Monet (French, 1840-1926).

The Doge's Palace (Le Palais ducal), 1908. Oil on canvas, 32 x 39 in. (81.3 x 99.1 cm). Brooklyn Museum, Gift of A. Augustus Healy, 20.634 (Photo: Brooklyn Museum, 20.634_view1_acetate_bw.jpg) Claude Monet (French, 1840-1926). The Doge's Palace (Le Palais ducal), 1908. Oil on canvas, 32 x 39 in. (81.3 x 99.1 cm). Brooklyn Museum, Gift of A. Augustus Healy, 20.634 (Photo: Brooklyn Museum, 20.634_view2_acetate_bw.jpg) Claude Monet (French, 1840-1926). The Doge's Palace (Le Palais ducal), 1908. Oil on canvas, 32 x 39 in. (81.3 x 99.1 cm).

Brooklyn Museum, Gift of A. Augustus Healy, 20.634 (Photo: Brooklyn Museum, 20.634_detail_acetate_bw.jpg) Download our app and ask your own questions during your visit. Here are some that others have asked. Did Monet really paint this scene while sitting in a gondola on the water? It is true! This captures Venice perfectly. Have you been there? No I haven't been to Venice, though Monet definitely captures it beautifully. He painted many of his works in a series, capturing the same place at different points of the day to get to the essence of light and color at any given place. If you visit our special Francisco Oller exhibit on the 4th floor, you'll see some other beautiful Monet paintings, as well as other Impressionists. Thank you! I love this serene, beautiful outdoor scene by Theodore Robinson! What drew you to this work? The way it's painted and how gentle it is in the colors and the woman's expression. Also the fact that I don't know anything about the painter.

Theodore Robinson is considered one of the first American Impressionists, a movement that began in, and is largely associated with, France. William Merritt Chase and Childe Hassam, two artists whom we have on view on the 5th floor, are also considered American Impressionists. The Impressionists were concerned with capturing fleeting moments resulting in often quickly painted works with visible, varying brushstrokes. There is another work by Robinson on that same wall as well as 2 works by Monet, a noted French Impressionist! Robinson even went to France to study with the French Impressionists and became close friends with Monet. Loved the Monet paintings! Absolutely beautiful. I agree, seeing Monet is always a treat! I especially love the reflection on the water in "The Doge's Palace," the colors are so vibrant. Yes! One of my favorites! Was it always here? I feel like I've seen it somewhere else? Do you have any info on it? Monet is famous for creating many versions of the "same" painting.

Because the Impressionists were interested in light and capturing the effects, he would often sit at the same site for a long period of time, painting different canvases of the same thing at different times of the day to see the changing light effects. There is a painting at the Metropolitan Museum of Art in Manhattan that looks similar to this, yes! I do believe our version has also been on view for some time, so it's possible you've seen it here before as well. I probably saw the one at The Met. I am from Brazil so this is my first time here. Oh, well, welcome to Brooklyn! Yes, you may have seen the Met's version. Although, I think it is easy to confuse various paintings by Monet because the subject matter, colors, and style can be so similar. That's true, thanks! The Doge's Palace (Le Palais ducal) Claude Monet European Art On View: Beaux-Arts Court, South, 3rd Floor Daunted by Venice’s innumerable picturesque views and its art-historical legacy, Claude Monet delayed visiting the city until 1908.

Once there, he explored familiar artistic concerns—reflection, atmosphere, and structure—through the elements of water, light, and architecture. To capture the Doge’s Palace, Monet positioned himself across the Grand Canal in a gondola. Despite the horizontal format of both the canvas and the palace itself, the painter created a strong vertical through the reflection, which dissolves the solid structure into a shimmer of colors. Place Made: Europe DATES 1908 DIMENSIONS 32 x 39 in. (81.3 x 99.1 cm) Frame: 41 1/4 x 49 x 3 5/8 in. (104.8 x 124.5 x 9.2 cm) (show scale) SIGNATURE Signed and dated lower right: "Claude Monet 1908" MUSEUM LOCATION This item is on view in Beaux-Arts Court, South, 3rd Floor EXHIBITIONS RIGHTS STATEMENT No known copyright restrictions This work may be in the public domain in the United States.

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For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright . If you have any information regarding this work and rights to it, please contact copyright@brooklynmuseum.org . CAPTION Claude Monet (French, 1840-1926). The Doge's Palace (Le Palais ducal), 1908. Oil on canvas, 32 x 39 in. (81.3 x 99.1 cm). Brooklyn Museum, Gift of A. Augustus Healy, 20.634 (Photo: Brooklyn Museum, 20.634_SL1.jpg) IMAGE overall, 20.634_SL1.jpg. Brooklyn Museum photograph "CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.

RECORD COMPLETENESS Best (92%) Not every record you will find here is complete. More information is available for some works than for others, and some entries have been updated more recently. Records are frequently reviewed and revised, and we welcome any additional information you might have. Download our app and ask your own questions during your visit. Here are some that others have asked. Did Monet really paint this scene while sitting in a gondola on the water? It is true! This captures Venice perfectly. Have you been there? No I haven't been to Venice, though Monet definitely captures it beautifully. He painted many of his works in a series, capturing the same place at different points of the day to get to the essence of light and color at any given place. If you visit our special Francisco Oller exhibit on the 4th floor, you'll see some other beautiful Monet paintings, as well as other Impressionists. Thank you! I love this serene, beautiful outdoor scene by Theodore Robinson! What drew you to this work? The way it's painted and how gentle it is in the colors and the woman's expression. Also the fact that I don't know anything about the painter.

Theodore Robinson is considered one of the first American Impressionists, a movement that began in, and is largely associated with, France. William Merritt Chase and Childe Hassam, two artists whom we have on view on the 5th floor, are also considered American Impressionists. The Impressionists were concerned with capturing fleeting moments resulting in often quickly painted works with visible, varying brushstrokes. There is another work by Robinson on that same wall as well as 2 works by Monet, a noted French Impressionist! Robinson even went to France to study with the French Impressionists and became close friends with Monet. Loved the Monet paintings! Absolutely beautiful. I agree, seeing Monet is always a treat! I especially love the reflection on the water in "The Doge's Palace," the colors are so vibrant. Yes! One of my favorites! Was it always here? I feel like I've seen it somewhere else? Do you have any info on it? Monet is famous for creating many versions of the "same" painting.

Because the Impressionists were interested in light and capturing the effects, he would often sit at the same site for a long period of time, painting different canvases of the same thing at different times of the day to see the changing light effects. There is a painting at the Metropolitan Museum of Art in Manhattan that looks similar to this, yes! I do believe our version has also been on view for some time, so it's possible you've seen it here before as well. I probably saw the one at The Met. I am from Brazil so this is my first time here. Oh, well, welcome to Brooklyn! Yes, you may have seen the Met's version. Although, I think it is easy to confuse various paintings by Monet because the subject matter, colors, and style can be so similar. That's true, thanks!

Question: Doge’s Palace is in which European city?
Answer: Venice