ExtraBenefits_Museums-Foundations

The Peggy Guggenheim Collection is the most important museum in Italy for European and American art of the first half of the 20th century created by the American heiress Peggy Guggenheim.
It presents masterpieces by Picasso, Magritte, Chagall, Kandinsky, Pollock, de Chirico, hosts the Hannelore B. and Rudolph B. Schulhof Collection, the Gianni Mattioli Collection, with works by Balla, Boccioni, Carrà, Modigliani, among other, the Nasher Sculpture Garden, as well as temporary exhibitions.  

Both restored by the Japanese architect Tadao Ando, Palazzo Grassi and Punta della Dogana are the two exhibitions venues of the François Pinault Foundation in Venice. They present important exhibitions of contemporary art through works of the François Pinault.

Palazzo Bembo is a famous building on the Grand Canal with a wonderful view over the Rialto Bridge. Since 2011 it is an art exhibitions venue.

SCUOLA GRANDE DEI CARMINI

The school of devotion and charity dedicated to Our Lady of Mt. Carmel gained its official recognition from the Council of Ten on 22 September 1597, and was elevated to the status of Grand School in 1767.
The confraternity built its present headquarters (designed by the architects C,austello and Longhena in the 17th century) beside the church belonging to the Carmelite monks. There the confraternity had its initial headquarters and an altar dedicated to the Virgin. The original antique furnishings inside the halls of the school have been entirely preserved. These consist of important oil paintings, rich stucco ceilings and original embroidered and carved wood.

SPECIAL Admission only for ROLLING VENICE holders: 
REDUCED Admission 

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ICON MUSEUM OF THE HELLENIC INSTITUTE OF BYZANTINE AND POST-BYZANTYNE STUDIES

The Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice is Greece’s only research centre outside Greece itself.
The Institute was founded in 1951, following a cultural agreement between Italy and Greece signed in 1948. In 1953 the Greek state donated to it the moveable and immoveable property of the historic Greek Orthodox Confraternity in Venice. The Confraternity had ceded this property to the Greek state, on condition that the state would guarantee its material support.
Housed in the building of the former Flanghinis College, the Institute began to function in 1958, on the completion of major, radical restoration work on the Confraternity’s buildings.
The Institute’s main objectives are to carry out studies in Byzantine and Post-Byzantine history — focussing primarily on the history of Greek territories under Latin domination, on the basis of Italian and in particular Venetian archives — and to publish the relevant historical sources.
Research in archives and libraries is carried out by Greek graduates, who receive a scholarship in order to prepare doctoral theses and other studies on topics in the history, art and literature of the Greek regions under Venetian rule, and also on aspects of the history and activities of the Greek Confraternity in Venice.

GRIMANI PALACE

At the beginning of the 16th century, Antonio Grimani gave his sons the family house at Santa Maria Formosa: later, on the advice of celebrated architrects such as Jacopo Sansovino, Sebastiano Serlio e Andrea Palladio, Antonio’s grandsons – Vettore, a Procurator of St. Mark’s and Giovanni, the Patriarch of Aquileia – substantially altered the building and gave it a classical stamp.
The palazzo housed Giovanni Grimani’s archaeological collection, one of the finest of the time, which was strikingly displayed on shelves, mantelpieces and plinths in settings such as the specially designed Tribuna and the courtyard.
The decoration of the rooms is of extraordinarily high quality, with outstanding stuccowork and frescoes reflecting the confidently unconventional taste of the Grimanis and executed by Mannerist artists such as Giovanni da Udine, Francesco Salviati, Camillo Mantovano, Francesco Menzocchi and Federico Zuccari.
All this makes Palazzo Grimani unique in Venetian history and architecture, a fascinating treasure house of cultural, artistic and historical riches and, now that its restoration has been completed, a museum of itself and of a few choice examples of the taste underlying the creation of the family collections in the 1500s.