Informations 2018-06-14T12:18:26+00:00

INFORMATIONS

Titian and 16th Century Painting between Venice and Brescia

Running: 21st March through 1st July 2018
Venue: Museo di Santa Giulia; Via Musei 81/b – 25121 Brescia

INFORMATION

www.bresciamusei.com

CUP (Centralized Booking Office)
Phone. + 39 030 2977833–834;
 santagiulia@bresciamusei.com

21st March – 15th June
Monday to Sunday, from 10.00 am to 4.00 pm

16th June  – 1st July
Tuesday to Sunday, from 11.00 am to h. 5:00 pm

 OPENING HOURS

From 21st March to 15th June
Tue. – Wed. – Fri. – Sat. – Sun. from h. 9.00 am to 6.00 pm
Thur. from 9.00 am to 10:00 pm

From 16th June  to 1st July
Tue. – Wed. – Fri. – Sat. – Sun. from h. 10.30 am to 7.00 pm
Thur. from 10.30 am to 10:00 pm

The ticket office closes one hour before closing time.

ADMISSION TICKET

Admission Ticket for Exhibition + Pinacoteca Tosio Martinengo + Museo Diocesano
An audioguide is provided with each ticket

Standard  ticket € 13,00
Discounted ticket  € 10,00*
Special discounted ticket under 18 € 6,00

Free for children under 6, one accompanying person per group, two accompanying teachers per class, one accompanying person for disabled people, holders of Musei Milano Lombardia Card

* for groups of at least 10 persons, over 65, with residence in the provinces of Brescia, Asola, Bagolino, Capriolo, Salò, Orzinuovi, Holders of Musei Torino Piemonte card, holders of ticket of the Exhibition Raffaello e l’eco del mito (Accademia Carrara in Bergamo), holders of Bresciacard, Desiderio Card, ICOM members, Cartafreccia card members holding a ticket of “Frecce” to Brescia or Milan, FS employees, “Itinero” or “Io Viaggio” Trenord card holders, one way Trenord ticket to Brescia holders validated on the same day of the visit

All-inclusive ticket for Exhibition + Pinacoteca Tosio Martinengo + Museo di Santa Giulia + Luigi Marzoli Arms Museum + Museo Diocesano
An audioguide is provided with each ticket

Standard ticket € 16,00
Discounted ticket € 12,00*
Special discounted ticket under 18 € 8,00

Free for children under 6, one accompanying person per group, two accompanying teachers per class, one accompanying person for disabled people, holders of Musei Milano Lombardia Card

* for groups of at least 10 persons, over 65, with residence in the provinces of Brescia, Asola, Bagolino, Capriolo, Salò, Orzinuovi, Holders of Musei Torino Piemonte card, holders of ticket of the Exhibition Raffaello e l’eco del mito (Accademia Carrara in Bergamo), holders of Bresciacard, Desiderio Card, ICOM members, Cartafreccia card members holding a ticket of “Frecce” to Brescia or Milan, FS employees, “Itinero” or “Io Viaggio” Trenord card holders, one way Trenord ticket to Brescia holders validated on the same day of the visit

The special Two-for-One Ticket will apply on Thursday 14 June (from 6 pm to 10 pm), Thursday 21 June (from 7 pm to 10 pm) and Thursday 28 June (from 7 pm to 10 pm): Visit the exhibition, the Museo di Santa Giulia, the Pinacoteca and the Museo Diocesano for the price of a single ticket, valid until 1 July (1 full-price ticket + 1 free ticket)

CATALOGUE

Title: Tiziano e la pittura del Cinquecento secolo tra Venezia e Brescia
(Titian and 16th Century Painting between Venice and Brescia)

Publisher: Silvana Editoriale
Published in: 2018
Language: Italian
Number of pages: 240 with 150 photos

Price: € 34,00

This book explores the relationship between art and culture in Brescia and Venice in the 16th century, in light of the novelties introduced by the work of Tiziano Vecellio.

Starting from the two pivotal works painted by Titian in Brescia – namely the polyptych made for Bishop Altobello Averoldi between 1520 and 1522, still in the collegiate church of Santi Nazaro and Celso, and the canvases with the Allegories of Brescia painted in the sixties of the 16th century for the Salone della Loggia and destroyed in the 1575 fire –  this book covers the effects of Titian’s influence on painting development in this region.

The models and pictorial language introduced by Titian did play a key role in the training and development of some leading artists of those times, such as Girolamo Romanino, Moretto and Giovan Girolamo Savoldo, and, more generally, of Brescia’s painters, who would not only engage in a fruitful dialogue with Venice, but also pursue some independent artistic research.

The effects of this constant exchange can be seen in the works presented in this book, which offers a broad and exhaustive overview of the golden age of Brescia’s painting.

Contributing authors:
Maria Fiori, Enrico Valseriati, Stefania Buganza, Barbara Savy, Francesco Frangi, Cristina Passoni, Roberto D’Adda, Filippo Piazza, Angelo Loda

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