Loom-width piece of velvet fabric, Bursa, Turkey, late 16th century Silk velvet pile, voided ground with silver and gilt-silver wrapped silk brocading; 64 1/8 x 24 3/4 in. (163 x 63 cm) Kunstgewerbemuseum, Berlin	Gentile Bellini (Italian, 1429?-1507) Portrait of Sultan Mehmet II, Istanbul, dated November 25, 1480. Oil on canvas; 25 5/8 x 20 1/2 in. (65 x 52 cm) The National Gallery, London, Layard Bequest, 1916

The Metropolitan Museum of Art
Open until July 8, 2007

The exhibition opens with a gallery dedicated to the Venetian experience of traveling to and living in Islamic lands in the eastern Mediterranean. As recent scholarship convincingly demonstrates, trade, travel, and cultural and diplomatic relations were the most important vehicles for the exchange of artistic ideas between Venice and her Muslim neighbors. Maps give a sense of place and a realization of the close proximity of Venice and Damascus, Alexandria, Cairo, Istanbul, and other major Islamic cities, while Venetian travel diaries and painted views of Near Eastern peoples and places provide insight into the Venetian perspective of these foreign lands.

The main body of the exhibition unfolds chronologically and thematically. Some of the earliest Islamic objects to arrive in Venice were destined for churches and church treasuries, which suggests they were highly prized. The varied ways Islamic glass, rock crystal, carpets, textiles, and metalwork were put to use in Venetian ecclesiastical settings are explored and explained in the galleries. Also holding an important early presence in Venice were medieval Islamic scientific instruments and illustrated manuscripts, which were far more advanced than anything available in Europe at the time. Venetians enthusiastically acquired and translated into Latin famous Islamic texts, like Avicenna's Canon, helping them to spawn their own medical and technological advancements.

Anonymous Venetian The Reception of the Venetian Ambassadors in Damascus, 1511 Oil on canvas; 46 1/2 x 80 in. (118 x 203 cm) Musée du Louvre, Paris

The heart of the exhibition is comprised of objects from the 15th and 16th centuries, when Venetian interest in the Islamic world peaked. This is abundantly clear from the numerous representations of Islamic costumes and architecture in manuscript illumination, prints, drawings, and sculpture. The point of departure for these images was Gentile Bellini's diplomatic mission to the court of Sultan Mehmet II between 1479 and 1481. During and after his visit to Istanbul, Bellini represented Islamic figures and settings in his paintings, and his many pupils, like Vittore Carpaccio and Giovanni Mansueti, followed suit. Many of these artists' most magnificent "orientalizing" paintings and drawings, now dispersed all over the world, are featured in the exhibition.

The exhibition also demonstrates that artistic transfer flowed from West to East as well. In the second half of the 16th century, Venetian relations with its Near Eastern neighbors became more complex. While trade between the two spheres generally continued as frequently as ever, Venetians often felt threatened by Ottoman military might and began representing Muslim subjects in less sympathetic ways, as seen in Venetian prints, drawings, and even wooden ship decorations. At the same time, Ottoman-style arms and armor were at the height of popularity in Venice. Elaborately decorated Turkish shields and quivers, along with their Venetian imitations from the armory of the Doge's Palace, will be included in the exhibition.

Cesare Vecellio (Italian, 1521-1601) Family Portrait, Venice, ca. 1555-1570 Oil on canvas; 44 1/2 x 70 7/8 in. (113 x 180 cm) Museo Civico Correr, Venice

An impressive number of Venetian institutions, including the Armeria del Palazzo Ducale, the Basilica and Tesoro di San Marco, the Biblioteca dei Frati Minori di San Michele ad Isola, the Biblioteca Nazionale Marciana, Santa Maria Gloriosa dei Frari, the Fondazione Giorgio Cini, the Gallerie dell'Accademia, the Museo Civico Correr, the Museo Franchetti alla Ca' D'Oro, the Museo Storico Navale, the Museo Vetrario, and the Scuola Grande di San Rocco, are lenders to the exhibition. Other European museums, libraries, and private collections in Berlin, Düsseldorf, Frankfurt-am-Main, Munich, Stuttgart, Ecoen, Paris, Sèvres, Cividale del Friuli, Florence, Milan, Padua, Rome, Verona, Chatsworth, and London will also lend major works, as will U.S. museums in Corning, Baltimore, New York, Princeton, Saint Louis, and Washington, D.C.

"Venice and the Islamic World, 828-1797" is organized by Stefano Carboni.

Exhibition Catalogue

Stefano Carboni is the editor and a major contributor to the accompanying catalogue, published by Éditions Gallimard in both French and English. Fully illustrated in color, the catalogue also includes essays by leading international experts: Catarina Schmidt Arcangeli, Sylvia Auld, Rosa Barovier Mentasti, Michael Barry, Barbara Berrie, Giovanni Curatola, Walter Denny, Maria Vittoria Fontana, Ernst Grube, Deborah Howard, Jean-Claude Hocquet, Susan La Niece, Julian Raby, Adriana Rizzo, Sandra Sardjono, and Marco Verità, with shorter texts by Qamar Adamjee, Carmen Bambach, Andrea Bayer, Trinita Kennedy, Wolfram Koeppe, Francesca Leoni, Maria Antonietta Marino, Pia Palladino, Stuart Pyhrr, Francesca Saccardo, Wendy Thompson, and Nicholas Warner.

Plate, Veneto, 1633 Maiolica (tin-glazed earthenware); Diam. 10 1/4 in. (26 cm) Musée National de Céramique, Sèvres

Venice and the Islamic World, 828 - 1797
The Metropolitan Museum of Art
Open until July 8, 2007
http://www.metmuseum.org