EditorialFrom left, Mary Weatherford’s “The Flaying of Marsyas—Soft White,” 2021, and “The Flaying of Marsyas—Sunrise and Soft White,” 2021, at Museo di Palazzo Grimani in Venice, Italy, April 19, 2022. (Matteo de Mayda/The New York Times)
EditorialThe “Room of the Doge” at the Museo Palazzo Grimani in Venice, originally a hall honoring the family patriarch Antonio Grimani, Sept. 19, 2021. (Susan Wright/The New York Times)
EditorialCampo Santa Maria Formosa, 1735. In the centre: the church and campanile - to the left: beyond the two narrow bridges spanning the Rio Santa Maria Formosa, the Palazzo Grimani. Oil on canvas, 47 x 80 cm.
EditorialDoge Antonio Grimani kneels before St Mark, on a plinth with his coat of arms; borders with putti and acanthus decoration. Text with borders of military trophies and putti. The beginning of the Promisio of Doge Grimani, setting for the laws and customs...
EditorialDoge Antonio Grimani kneels before St Mark, on a plinth with his coat of arms; borders with putti and acanthus decoration. Text with borders of military trophies and putti. The beginning of the Promisio of Doge Grimani, setting for the laws and customs...
EditorialCampo Santa Maria Formosa, 1735. In the centre: the church and campanile - to the left: beyond the two narrow bridges spanning the Rio Santa Maria Formosa, the Palazzo Grimani. Oil on canvas, 47 x 80 cm.
EditorialCampo Santa Maria Formosa, 1735. In the centre: the church and campanile - to the left: beyond the two narrow bridges spanning the Rio Santa Maria Formosa, the Palazzo Grimani. Oil on canvas, 47 x 80 cm.
EditorialDomus Augustiana, cornice, profile projection (recto) Ara Grimani, base (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 8 7/16 x 13 11/16 in. (21.5 x 34.7 cm).