“The desire to discover, the wish to excite, the taste to capture, three concepts that sum up the art of photography.”
Helmut Newton
Art in Art. The municipality of Vittorio Veneto, in the province of Treviso, is hosting a unique photographic exhibition for all lovers of Venetian Villas and all lovers of photography.
Until the 13th of February 2022 at Palazzo Todesco, under the patronage of the Consorzio Ville Venete-Villeveneteforyou, of which the Hotel AbanoRitz is part, we invite you to see the exhibition “Ville Venete”, with images taken from the archives of Paolo Marton, for the sixteen hundredth anniversary of the Serenissima.
Paolo Marton was born in Treviso on the 23rd of January 1932 and died there on the 13th of February 2006. Son of an Italian politician and brother of a musician, he was for a long time the owner of the namesake bookshop in Treviso, before making his debut in photography in 1977 with a volume about Veneto commissioned by the publishers of Ivrea, known thanks to his profession. He achieved his first great international success with “Roma, magia nei secoli” (Rome, magic through the centuries) in 1983; then in the following years he specialized in publications more centered on art and architecture of Veneto. Marton has always taken the Venetian Villas around the world, exalting their beauty and promoting this unique reality that our territory offers us with a particular passion and sensitivity.
Venice is undoubtedly one of the best-known cities in the world and it always carries with it a special charm, but it is in the inland where you fall in love and get to know its history and traditions, art and culture. Paolo Marton tells an all-Venetian civilization that is woven into the villas, that ritual in which architecture, wellbeing and beauty intertwine.
“I would like to thank the owners of the Venetian Villas. It is impossible for me to list them all here, whether they are descendants of the ancient patrician families that built the Villa, nobles of other lineages or private citizens, foreigners in love with Italian art, financial companies or public bodies, such as Regions, Provinces and Municipalities; so I apologize that, in order not to do anyone any harm, I will not mention their names. However, I would like to express all my gratitude to them for their willingness to allow me to enter their stupendous residences, which, let it not be forgotten, are almost always private homes and not museum halls. I ask all these people to accept the images that make up this book as the best thanks I can offer to their kindness and hospitality.” Paolo Marton, 1986
