In Ca’ Pesaro’s galleries these magnificent works will no longer be in an intimate relationship with the place and the people who have preserved them thus far but are preparing for a daily dialogue with the visitors and with the works exhibited in the other rooms. They will re-emerge and will fulfill a “public” role, designed to shape taste, solicit critical thoughts, and aesthetic views. They become objects of study for new historiographical theories. Always connected one to the other through a link, which is the passion of collectors who have collected, sought, loved and now brought them here as one single piece, unicum, which the museum intends to exhibit in its permanent collection. The arrival of these more than eighty works makes it easy to ask why an institution, which holds an important artistic heritage, decides to add to its collections a group of works on long-term deposit, albeit of exceptional quality, such as those of Francesco and Chiara Carraro. It is a question that needs to be answered.
Primarily, one cannot deny that every acquisition constitutes for the museum, whatever the museum, a sort of rebirth. There is nothing more relevant to help to realize good projects and strengthening of the museum's instructive and educational ability, than the increase of its permanent collections. No exhibition, no matter how beautiful and important it is can create a continuous critical dialogue as a collection, when growing and opening to new research areas. The meaning of the museum certainly lays in the things it creates, but above all in its collections. Collections are concrete signs of evolution, the source of its appeal to the public, its ability to set itself as a place of study and research, an expression of its ability to entertain virtuous relationships with the community and, in a broader sense, with the world of art. The public, frequently when visiting the museum, certainly likes to find their “beloved” paintings. Those who come to Ca’ Pesaro want to see again Klimt’s Judith II or the superb group sculpted by Rodin, not to mention Medardo and Chagall’s Rabbi No. 2, or of the exceptional canvas, painted with air and lightness, by Sorolla. They equally appreciate the fact that the museum is growing and improves its holdings. And by doing so opens to new critical perspectives, conquers new territories of research and even instills the confidence of its usual visitors to such a degree that, as in this case, it becomes a place chosen by some to assign their collection to public enjoyment.