The Washington exhibit includes two Carpaccio paintings which, after a restoration, left Venice for the first time in more than 500 years.
Restorer Valentina Piovan works on Vittore Carpaccio's 1502 painting 'The agony in the garden' at the Dalmatian School in Venice, northern Italy, Wednesday, Dec. 7, 2022. On November 20th, the National Gallery of Washington inaugurated the first retrospective exhibition of Carpaccios works outside of Italy. It will run until February 12, 2023. – When most people think of “carpaccio,” they think of the thinly sliced raw beef appetizer made famous by Venice’s iconic Harry’s Bar.
“At first, we were a bit hesitant, because allowing these masterpieces to leave their natural habitat is always a risk,” said Piergiorgio Millich, the grand guardian of the institution that boasts having more Carpaccios under the same roof for which they were originally commissioned than anywhere else.
Piovan is now working on restoration of several other Carpaccios in the headquarters of the Scuola di San Giorgio degli Schiavoni fraternity, which was founded in 1451 by a group of Venetians as a social center providing medical and spiritual support for members — mostly sailors in the republic’s naval fleet. When the fleet defeated the Ottomans in the Turkish-Venetian wars, they were paid handsomely.
In the first painting in the cycle “Saint George and the Dragon,” a masterpiece more than three meters long, Carpaccio paints the saint on horseback with his lance thrust into the mouth of the dragon and the ground littered with the body parts of partially devoured humans. The princess, dressed in a “carpaccio” red robe, clasps her hands together in gratitude as she watches the scene from a rocky outcropping above.
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