Benvenuti a Garden Paradiso: Camping village Jesolo - .In painting a resumption was had following the work of foreign artists what D. Fetti, B. Strozzi and J. Liss, that influenced, besides, the Venetian F. Maffei, active above all to Vicenza and Rovigo. Also the sculpture was dominated by the presence of a foreign artist G. Her Court, that operated in Venice. The architecture of the sec. XVIII doesn't introduce demonstrations of importance equal to those of the preceding period, even if you/they can remember figures of notable level as the palladianis G. Massari and G. Frigimelica, author this last of villa Pisani to Stra. It is really the architecture of villa, initiated in Five hundred from the Palladium, the maximum glory of the Seven hundred Venetian, that enriches the country of classicheggianti constructions, at times sumptuous, at times modest. The sculpture tardobarocca, from the pleasant and decorative ways, you/he/she is represented by G. M. Morleiter, of taste berniniano, and from G. Marchiori. It is nevertheless the painting the maximum glory of the Seven hundred Venetian; later G. B. Pittoni, Sebastiano and Mark Ricci, still tied up to ways secenteschi, a group of great artists renews the Five hundred painting European Fastis: G. B. Piazzetta, Gianbattista and Giandomenico Tiepolo, R. Carriera, Longhi, Canaletto and B. Bellotto up to the you Look. Neoclassic Italian is tied up to the fundamental work of two Venetian, even though active in prevalence out of the region: G. B. Piranesi and A. Canova. Interesting example of eclecticism is the work of the architect padovano G. Japelli, while the romantic painting is represented above all by the vedutista I. Caffi. To begin from the second halves the century the Venetian art as demonstration particular curtains to disappear, meeting in the vast current Italians and Europeans. Only a local pictorial tide persists up to the principle of our century, with artists what G. Ciardi, G. Favretto and others, on which all dominate the work, after all of non regional circle, of F. Zandomeneghi.
Dialect theater
Since the sec. XIII the Venetian area produced authors and works, original dramatic forms and texts that used the dialect (in epoches in which it also had dignity and function of cultured language) or that they alternated him/it to the “Tuscan.” The most ancient document is a Complaint of his/her/their bride padovana of the second halves Two hundred, which you/they followed in the sec. XIV sacred plays generally destined to ceremonies of brotherhoods and coming from the most different zones, as well as examples of profane theater as the Nonsense (giullaresca) trattante of the war de' Genoese co' viniziani. The sec. XV had a scarce dramaturgical production (the most remarkable examples are the humanistic dialogue her Catinia of Sicco Polenton and above all the “contrasts” of the patrician Venetian L. Giustiniani), but there was a rich popular theater of country origin that, grafting himself/herself/itself on the humanistic line, it was to the origin of the great sixteenth-century Venetian theater. Among the son-in-laws more significantis are remembered the Venetian momaries, burlesque representations introduced by the so-called Companies of the Stocking and the mariazis of the contado padovano, farces rusticane characterized from a sour realism and from a thematic incentrata on the hunger and on the sex. Hunger and sex are also to the center of the dramatic world of the Ruzzante, actor and author that he/she introduced its shows in the villas and in the castles of the patrician A. Cornaro, but that it gave dignity of language (and of sharp language, figurative, violent) to the rough dialect pavano, describing without sentimentalisms a humiliated country universe and offended. To the same century the fertile actor and playwright A. Calmo in Venice also belong (Spagnolas, The Saltuzza etc.), a third actor and author, the rodigino G. A. Giancarli (You capraria, You zingana), that tried more a mistione dialects, and an unusual comedy sews together anonymous from the title You Venexiana. Then immediately the decadence: some pastoral play, some comic text where the dialect refines him and loses all of its subversive taste. In the second halves the Seven hundred worth, as of a perfect tool of his/her art, C. Goldoni, describing in his/her greater comedies in dialect the minute people and the merchant middle class of the Serene one. On the wake of Goldoni, but with a great deal less vigor, worked in the eight hundred A. Zanchi (You regatta in Venice) and above all a nth actor-author, F. A. Bon, inventor of the character of Ludro. After the annexation of Veneto to the Kingdom of Italy (of which an unusual script vicentino, You politics of the peasants of D. Pittarini, expresses with strong irony the disappointments) you/he/she was entirely constituted by A. Moor Lin the first devoted professional company to the Venetian repertoire (actually to then the Venetian one you/he/she had been frank language of the Italian comedians). It recited Goldoni and Bon, Clear and Ferrari, but it immediately started to discover new authors, among which R. Selvatico (The party recinis, You bozeta de the ogio) and G. Gallina. To Moor Lin succedettero E. Zago, that specialized him in the repertoire goldoniano placing side by side him playlets of mere work (from The honorable Campodarsego of L. Pilotto to El fator galantomo of L. Sugana), and F. Benini, interpreter of extraordinary modernity, that launched the chastest and genial comedy of Hen (You famegia of the santolo), it proposed the thin theater intimista of R. Simoni and it dared to introduce, translated, remarkable texts of C. Bertolazzi (The egoist etc.) refused by the companies in language. The inheritance of Benini was picked up, after the first world war, from G. F. Giachetti, which the last remarkable dramaturgical production is owed in Venetian dialect, with authors as G. Rocca (otherwise the xes mati no them volemo), A. Colantuoni (You feast of the oseis) and E. F. Palmers (When to the country mezogiorno sona), but also the fortunate musical comedy Nina no to make the fool (1926), of Rossato and Gian Capo, that it dominated for one decade the repertoires arousing myriads of imitations. Contemporarily to Giachetti they began their capocomicato, around the years Winds, the last important actors collocabili in this tradition: C. Micheluzzi, G. Cavalieri and C. Baseggio, which memorable interpretations of Goldoni and Ruzzante are owed.
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