ABSTRACT
In Europe, 1935 was a year of particular significance in terms of exhibitions: numerous artistic sections were set up at the Universal Expo of Brussels, and an important exposition of Impressionism was also organized. Without entering into an analysis of the grand Italian exhibition held in Paris, whose aim was essentially celebratory, it is necessary to mention certain 'external' circumstances that deeply influenced Italian cultural strategy at the time. The role of Venice is crucial: as it is seen in countless articles on the 1935 Titian exhibition, the glorification of the painter is also a glorification of Venice, as Titian is closely linked with the city. The design of the Titian exhibition and that of the exhibition at Petit Palais do bear resemblance, a design which to modern eyes would seem quite random and crowded.
