"pieces is ""The Stonemason's Yard"" (, the National Gallery, London) which depicts a humble working area of the city. It is regarded one of his finest works and was presented by Sir George Beaumont in 1823 and 1828. Later Canaletto painted grand scenes of the canals of Venice and the Doge's Palace. His large-scale landscapes portrayed the city's pageantry and waning traditions, making innovative use of atmospheric effects and strong local colours. For these qualities, his works may be said to have anticipated Impressionism. His graphic print ""S. A. Giustina in Prà della Vale"" was found in the 2012 Nazi"
"The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola is a painting by Canaletto in the J. Paul Getty Museum in Los Angeles, California. Painted around 1738, it may have been commissioned by the English merchant and art collector Joseph Smith (1682–1770). The composition depicts the upper reaches of the Grand Canal near the entrance to the Cannaregio Canal. It is a typical example of the ""vedute"" paintings popular with Grand Tour travelers as a visual record of their stay in Venice. The viewer’s vantage"
"Here he was influenced by the Dutch painter Caspar van Wittel (often called Vanvitelli), who was a long-term resident of Rome. Van Wittel was the pioneer of the genre of vedute of Rome. Carlevarijs then started to create ""vedute"" of Venice, which are among the earliest Baroque depictions of the city. He painted landscapes, sea-pieces and perspective views. His works included cityscapes with a topological interest as well as imaginary landscapes with ruins. He completed over a hundred etchings of views in Venice, which give an exact representation of the principal places in that city. The painters Canaletto, Francesco Guardi"
"Capriccio"" (1723, Milan, in a private collection). Studying with the older Luca Carlevarijs, a well-regarded painter of urban cityscapes, he rapidly became his master's equal. In 1725, the painter Alessandro Marchesini, who was also the buyer for the Lucchese art collector Stefano Conti, had inquired about buying two more 'views of Venice', when the agent urged him to consider instead the work of ""Antonio Canale... it is like Carlevaris, but you can see the sun shining in it."" Much of Canaletto's early artwork was painted ""from nature"", differing from the then customary practice of completing paintings in the studio. Some"
"of his later works do revert to this custom, as suggested by the tendency for distant figures to be painted as blobs of colour – an effect possibly produced by using a camera obscura, which blurs farther-away objects – although research by art historians working for the Royal Collection in the United Kingdom has shown Canaletto almost never used a camera obscura. However, his paintings are always notable for their accuracy: he recorded the seasonal submerging of Venice in water and ice. Canaletto's early works remain his most coveted and, according to many authorities, his best. One of his early"
"and Antonio Visentini are said to have been influenced by his work or even have been his pupils. His paintings and his set of 104 etched views of Venice, which were published in 1703, were the foundation on which Canaletto and Guardi built.Johan Richter collaborated with him. He also collaborated with specialist figure painters who added the staffage into his landscapes or cityscapes. He worked mostly in Venice. Luca Carlevarijs Luca Carlevarijs or Carlevaris (20 January 1663 – 12 February 1730) was an Italian painter and engraver working mainly in Venice. He pioneered the genre of the cityscapes (""vedute"") of"
"loot discovery. Many of his pictures were sold to Englishmen on their Grand Tour, first through the agency of Owen Swiny and later the banker Joseph Smith, appointed British Consul in Venice in 1744. It was Swiny in the late 1720s who encouraged the artist to paint small topographical views of Venice with a commercial appeal for tourists and foreign visitors to the city. Sometime before 1728, Canaletto began his association with Joseph Smith, an English businessman and collector living in Venice, who later became the artist's principal agent and patron. Smith eventually acquired nearly fifty paintings, one hundred fifty"
"7. Swansong in Venice: from the most monumental religious paintings to the scenes of everyday life 8. Italian Journey: Astonishing vedutas of Venice by Canaletto and his followers, closing the exhibition with the best-known capriccio. Caravaggio to Canaletto ""Caravaggio to Canaletto"" is the title of a temporary exhibition in the Museum of Fine Arts, Budapest. It's open from 26 October 2013 until 16 February 2014, representing 140 artworks by 100 masters from the Museum of Fine Arts, other collections from abroad and private collections. The exhibition provides a panoramic view of the era from the end of the 16th century"
"themes, the sweetened sfumato of Barocci's Bolognese style. In this he differs from the more linear and architecturally accurate style of Canaletto's painting. This style, a century later, would make Guardi's works highly prized by the French Impressionists. Canaletto, as a vedutista, concentrated on glamorous urban architecture erected by the serene republic; on the other hand, in Guardi, the buildings often appear to be melting and sinking into a murky lagoon. Canaletto's canvases often have intricate linear and brilliant details, and depict Venice in sunny daylight. Guardi paints clouded skies above a city at dusk. These contrasts, however, simplify the"
"the ship, which was demanded by sailor customers, but very formulaic in general artistic terms. The Venetian artists Canaletto and Francesco Guardi painted vedute in which the canals, gondolas and other small craft, and lagoon of Venice are most often prominent features; many of Guardi's later works barely show land at all, and Canaletto's works from his period in England also mostly feature a river and boats. Both produced a large quantity of work, not all of the same quality, but their best paintings handle water and light superbly, though in very different moods, as Canaletto's world is always bright"
"collection of Canaletto's works was sold to King George III in 1762. He was born in Venice as the son of the painter Bernardo Canal, hence his mononym ""Canaletto"" (""little Canal""), and Artemisia Barbieri. Canaletto served his apprenticeship with his father and his brother. He began in his father's occupation, that of a theatrical scene painter. Canaletto was inspired by the Roman ""vedutista"" Giovanni Paolo Pannini, and started painting the daily life of the city and its people. After returning from Rome in 1719, he began painting in his topographical style. His first known signed and dated work is ""Architectural"
"Bellotto, and other Venetian masters of ""vedute"", may have used the camera obscura in order to achieve superior precision of urban views. Bellotto was born in Venice, the son of Lorenzo Antonio Bellotto and Fiorenza Canal, sister of the famous Canaletto, and studied in his uncle's workshop. In 1742 he moved to Rome, where he produced ""vedute"" of that city. In 1744 and 1745 he traveled northern Italy, again depicting ""vedute"" of each city. Among others, he worked for Charles Emmanuel III of Savoy. From 1747 to 1758 he moved to Dresden, following an invitation from King August III of"
"evoking memories of the place, playing the role that photographic postcards now fill. Pietro Fabris, for example, had created views of Pompeii and the Volcanic fields surrounding Vesuvius and Etna. In Venice, Canaletto and the Guardi for example, had depicted mainly urban vistas of the waterlogged city. Vanvitelli, Panini, and Belloto adapted these styles to different urbanscapes in Italy and abroad. Their styles were realistic, and Canaletto was said to use a camara obscura. Such detailed realism, however, was rarely applied to natural scenery. There was a tradition in Italy of landscape painting dating to the Baroque 17th century with"
"off as works by Canaletto. Perhaps in response to this, he began to display more stylistic autonomy. Soon, he enjoyed the patronage of the nobility. In 1824, he was elected a member of the Accademia di Belle Arti di Venezia. That same year, he received a major commission from the expatriate Venetian musician, Domenico Dragonetti, who was also an art collector and dealer. Despite having this degree of success, he apparently died in poverty. Vincenzo Chilone Vincenzo Chilone (10 July 1758, Venice - 12 January 1839, Venice) was an Italian painter who specialized in vedute, after the style of Canaletto."
"This historical event and iconic architectural view was not uncommon in Guardi's oeuvre. Indeed, this was also painted by Guardi's great predecessor, Canaletto. Canaletto's ""The Grand Canal from the Palazzo Balbi"" in the Uffizi Gallery is painted from a similar viewpoint. Regatta in Venice (Guardi, Frick) Regatta in Venice, c. 1770 by Francesco Guardi, is a small oil on canvas painting measuring 48.6 x 78.4 cm which is now in The Frick Collection, New York. The painting was gifted to the museum by Helen Clay Frick, the daughter of Henry Clay Frick, who founded the Frick Collection. It is currently"
"The Stonemason's Yard The Stonemason's Yard (formally known as ""Campo S. Vidal and Santa Maria della Carità"") is an early oil painting by Giovanni Antonio Canal, better known as Canaletto. It depicts an informal scene in Venice, looking over a temporary stonemason's yard in the Campo San Vidal and across the Grand Canal towards the church of Santa Maria della Carità. Painted in the mid to late 1720s, it is considered one of Canaletto's finest works. The painting measures . It depicts a Venetian scene looking roughly southwest over a temporary stonemason's yard situated in an open space beside the"
"Bernardo Bellotto Bernardo Bellotto, (c. 1721/2 or 30 January 1721 – 17 November 1780), was an Italian urban landscape painter or ""vedutista"", and printmaker in etching famous for his ""vedute"" of European cities (Dresden, Vienna, Turin and Warsaw). He was the pupil and nephew of the famous Giovanni Antonio Canal Canaletto and sometimes used the latter's illustrious name, signing himself as Bernardo Canaletto. In Germany and Poland, Bellotto called himself by his uncle's name, Canaletto. Bellotto's style was characterized by elaborate representation of architectural and natural vistas, and by the specific quality of each place's lighting. It is plausible that"
"and Rome. Most Italian Rococo artists came from Venice, such as Canaletto, Tiepolo, Guardi, Piazzetta and Bellotto, but also from Rome and Genoa, such as Piranesi and Pannini. Artists such as Castiglione and Alessandro Magnasco brought the vogue of Rococo art to Genoa, and Neapolitan Rococo was mainly based on landscapes and naturalistic themes. Canaletto and Tiepolo were among the most prominent painters of the age, and they painted many frescos and cityscapes (particularly Canaletto). A list of Italian Rococo painters:, Sirio Antonio Africa, Jacopo Amigoni, Marcello Bacciarelli, Antonio Balestra, Francesco Bambocci, Pompeo Batoni, Antonio Bellucci, Bernardo Bellotto, Giovanni Antonio"
"and Germany as ""Canaletto"" (1697–1768) was a Venetian painter who painted 26 views of Warsaw, which were used in rebuilding the city after its near-complete destruction by German troops during World War II. Giacomo Casanova visited Poland in 1766, later Alessandro Cagliostro arrived. Antonio Corazzi (1792–1877) was an Italian architect who designed a number of buildings in Warsaw, including Staszic Palace (1820) and Teatr Wielki. In the Napoleonic period, many Polish soldiers, officers and volunteers therefore emigrated, especially to Italy and to France, forming the Polish Legions, considered a Polish army in exile, under French command. Their Polish commanders included"
"the network of patronage of painters in eighteenth-century Venice, in which he created a market in the taste for ""vedute"", was as the prime facilitator of purchases made by the British aristocrats passing through on the Grand Tour. As the agent for Canaletto for several years circa 1729-35, he virtually controlled the artist's output, to the benefit of both; it was Smith who arranged for Visentini to engrave thirty-eight of Canaletto's views in 1730, and Smith who encouraged the artist to make his successful trip to London in 1746. Smith himself was a passionate collector of contemporary Venetian painting and"
"and was cleaned again in 1955, and then restored, relined and remounted in 1989. Some early retouchings, clouds now concealed under later glazings, may have been done in Beaumont's time by John Constable. The Stonemason's Yard The Stonemason's Yard (formally known as ""Campo S. Vidal and Santa Maria della Carità"") is an early oil painting by Giovanni Antonio Canal, better known as Canaletto. It depicts an informal scene in Venice, looking over a temporary stonemason's yard in the Campo San Vidal and across the Grand Canal towards the church of Santa Maria della Carità. Painted in the mid to late"
"Luca Carlevarijs Luca Carlevarijs or Carlevaris (20 January 1663 – 12 February 1730) was an Italian painter and engraver working mainly in Venice. He pioneered the genre of the cityscapes (""vedute"") of Venice, a genre that was later widely followed by artists such as Canaletto and Francesco Guardi. Carlevarijs was born in Udine. He was also known as 'Luca Casanobrio' or 'Luca di Ca Zenobri', for his patronage by the latter family. He worked principally in Venice, where he also died. His daughter, Marianna Carlevarijs (1703 - 1750) learned the art of pastel portraiture from Rosalba Carriera. Carlevarijs visited Rome."
"Academy wrote about Linton's 'View of Venice': The real aspect of Venice itself and of the Grand Canal has never been more faithfully rendered, even by Canaletti"" (sic!), ""than by Mr W.Linton. We admire the breadth, repose, and sobriety of the tone which are so favourable to architectural effect in his pictures, and Mr Linton never resorts to those artifices of light by which so many modern artists attempt to throw a strained and unnatural interest over their compositions. Linton had wealthy patrons, and his large-scale painting 'Positano, Gulf of Salerno' (Wolverhampton Art Gallery) was commissioned by the Earl of"
"different times of the day, which resulted during his active career in many distinct Monet series, like for example the ""Water Lilies"" series, ""Poplar"" series, ""Rouen Cathedral"" series, ""Haystacks"" series and ""Charing Cross Bridge"" series. Monet painted 37 works of Venice during his three-month stay in Italy, from October to December, including this painting and five more depicting the same theme, Canale Grande. One is hosted at the Fine Arts Museums of San Francisco. This painting depicts the view from the Palazzo Barbaro. Monet’s series introduced a fresh approach to a theme that was painted by many notable artists before"
"hotel nearby. He painted six views of this stretch of the waterway, near the church of Santa Maria della Salute. He also painted individual buildings on the Grand Canal such as the Palazzo Dario. One of the paintings from the Grand Canal series is hosted at the Museum of Fine Arts, Boston and another at the Fine Arts Museums of San Francisco. In 2018, the National Gallery in London exhibited nine of the Venice paintings, including two paintings of the series, together in a single room, for the duration of a temporary exhibition titled ""Monet & Architecture"", devoted to Claude"
"had previously visited, that captured Rico’s artistic imagination. From this first trip until his death thirty-six years later, Rico spent every summer with the exception of one working in the Italian “City of Light.” Venice’s unique setting, with its plazas, churches and canals, as well as its magnificent light, attracted many artists, including Édouard Manet, Claude Monet, John Singer Sargent, Pierre Renoir and Federico del Campo. Joining this group of artists while following in the tradition of the Italian vedute of the eighteenth century, Rico frequently painted his Venetian scenes en plein air, often from a gondola anchored to a"
"Antonio Visentini Antonio Visentini (21 November 1688 – 26 June 1782) was an Italian architectural designer, painter and engraver, known for his architectural fantasies and ""capricci"", the author of treatises on perspective and a professor at the Venetian Academy. Born in Venice, Visentini was a pupil of the widely travelled Baroque painter Giovanni Antonio Pellegrini, who had painted some decors in English country houses at the beginning of the 18th century. Visentini is best known today as the engraver for Canaletto's first great series of Venetian ""vedute"" published under the title ""Urbis Venetiarum Prospectus Celebriores ex Antonii Canal"", organised by"
"Unlike many views painted by Canaletto and his fellow vedutisti, the location has changed significantly since the 1720s. The view of the opposite bank of the Grand Canal is now blocked by the high arch of the modern wooden Accademia bridge, and the church of the Carità has been much altered. The campanile fell down in 1744, demolishing the houses beside the canal in front, and much of the other stonework has been removed. The nave became the Accademia di Belle Arti di Venezia in the 1800s, and the Gallerie dell'Accademia is housed in the Scuola. The Campo remains an"
"Europe, as well as its most able craftsman."" was a painter and printmaker, who together with Giambattista Pittoni, Canaletto, Giovan Battista Piazzetta, Giuseppe Maria Crespi and Francesco Guardi formed the ultimate group of traditional great Venetian old master painters of that period. Perspective played a central role in Tiepolo's representations, and was forced beyond the usual limits in his ceiling decorations depicting levitating figures viewed from below. Another characteristic feature of Venetian art is landscape painting, which sees in Canaletto (1697–1768) and Francesco Guardi (1712–1793) the two leading figures. Canaletto's rigorous perspective studies make for an almost ""photographic"" reality, in"
"Venice. It was called ""Shylock's bridge"" in Robert Browning's poem ""A Toccata of Galuppi's"". Rialto Bridge The Rialto Bridge (; ) is the oldest of the four bridges spanning the Grand Canal in Venice, Italy. Connecting the """" (districts) of San Marco and San Polo, it has been rebuilt several times since its first construction as a pontoon bridge in the 12th century, and is now a significant tourist attraction in the city. The first dry crossing of the Grand Canal was a pontoon bridge built in 1181 by Nicolò Barattieri. It was called the Ponte della Moneta, presumably because"
"Canaletto, J. M. W. Turner, John Singer Sargent, and the Venetian artist Francesco Guardi. Beginning in the summer of 1630, a wave of the plague assaulted Venice, and until 1631 killed nearly a third of the population. In the city, 46,000 people died whilst in the lagoons the number was far higher, some 94,000. Repeated displays of the sacrament, as well as prayers and processions to churches dedicated to San Rocco and San Lorenzo Giustiniani had failed to stem the epidemic. Echoing the architectural response to a prior assault of the plague (1575–76), when Palladio was asked to design the"
"whose aim was to memorialize British worthies, the main sponsor being the 2nd Duke of Richmond. Caneletto's ""vedute"" became the inspiration for Cimaroli's own topographical views of Venice, which until recently have often been concealed under misattributions to Canaletto. Important early patrons of Cimaroli were Marshal Schulenberg, Count Tessin of Sweden, and the British merchant and diplomat settled in Venice, Joseph (Consul) Smith. It was through the disposition of Consul Smith's art collection, hand-picked by Smith for King George III, that six landscapes by Cimaroli entered the Royal Collection, of which three oval views survive. Giovanni Cimaroli, despite the esteem"
"Bellotto died in Warsaw in 1780 and was buried in Capuchin Church at Miodowa Street. His younger brother was named Pietro Bellotto (1725 -c. 1805) and after collaborating with Canaletto and his brother, moved to France, where he was known as ""le Sieur Canalety"" and ""Pietro Bellotti di Caneletty"". The brother was also referred to as ""Belloti"", ""Belloty"", ""Beloty"", or ""Bellottit"". Bernardo Bellotto Bernardo Bellotto, (c. 1721/2 or 30 January 1721 – 17 November 1780), was an Italian urban landscape painter or ""vedutista"", and printmaker in etching famous for his ""vedute"" of European cities (Dresden, Vienna, Turin and Warsaw). He"