In 1919, the Assumption of the Virgin by Titian permanently left its room in the Galleries of the Academy in Venice. For an entire century, from its musealization in 1816 until its evacuation due to the war in 1917, the painting had been the undisputed masterpiece of the museum’s collection. Its return to the main altar of the Frari church, for which it had been created four centuries earlier, represented the result of a public campaign whose claims put into question the historical legitimacy and the mission of museums in modern societies.
commented by Matilde Cartolari