Canaletto

Giovanni Antonio Canal (18 October 1697 – 19 April 1768),[1] commonly known as Canaletto (Italian: [kanaˈletto]), was a italian painter from the Republic of Venice, considered important member of the 18th-century Venetian school. Painter of city views or vedute, of Venice, Rome, and London, he also painted imaginary views (referred to as capricci), although the demarcation in his works between the real and the imaginary is never quite clearcut.[2] He was further an important printmaker using the etching technique. In the period from 1746 to 1756 he worked in England where he painted many views of London and other sites including Warwick Castle and Alnwick Castle.[3] He was highly successful in England, thanks to the British merchant and connoisseur Joseph "Consul" Smith, whose large collection of Canaletto's works was sold to King George III in 1762.[2]

Canaletto
Giovanni Antonio Canal.jpg
Born
Giovanni Antonio Canal

(1697-10-18)18 October 1697
Died19 April 1768(1768-04-19) (aged 70)
NationalityVenetian
EducationLuca Carlevaris
Known forLandscape art, etching
Notable work
The Stonemason's Yard
Patron(s)Owen Swiny
Joseph Smith

Early careerEdit

 
Canaletto's birthplace
 
The Stonemason's Yard, painted c. 1725

He was born in Venice as the son of the painter Bernardo Canal, hence his mononym Canaletto ("little Canal"), and Artemisia Barbieri.[4] 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.[5] His first known signed and dated work is Architectural Capriccio (1723, Milan, in a private collection).[1] Studying with the older Luca Carlevarijs, a well-regarded painter of urban cityscapes,[5][6] 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."[7]

Outdoor paintingEdit

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.[8]

However, his paintings are always notable for their accuracy: he recorded the seasonal submerging of Venice in water and ice.[9]

Early and late workEdit

 
View of the Entrance to the Venetian Arsenal, 1732

Canaletto's early works remain his most coveted and, according to many authorities, his best. One of his early pieces is The Stonemason's Yard (c. 1725, 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.[10]

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 Munich Art Hoard.[11]

Work in EnglandEdit

 
Architectural Capriccio, drawing, Morgan Library & Museum
 
The portico with a lantern, from the series Vedute, c. 1740–1744, etching
 
The first Westminster Bridge, 1746
 
Westminster Abbey with a procession of Knights of the Bath, 1749

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. 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 Smith, an English businessman and collector living in Venice who was appointed British Consul in Venice in 1744. Smith later became the artist's principal agent and patron, acquiring nearly fifty paintings, one hundred fifty drawings, and fifteen rare etchings from Canaletto, the largest and finest single group of the artist's works, which he sold to King George III in 1763.[12]

In the 1740s Canaletto's market was disrupted when the War of the Austrian Succession led to a reduction in the number of British visitors to Venice.[13] Smith also arranged for the publication of a series of etchings of "capricci" (or architectural phantasies) (capriccio Italian for fancy) in his vedute ideale,[6] but the returns were not high enough, and in 1746 Canaletto moved to London, to be closer to his market.[5]

He remained in England until 1755, producing views of London (including several of the new Westminster Bridge, which was completed during his stay) and of his patrons' houses and castles. These included Northumberland House for Sir Hugh Smithson, Bt., who by marriage later became the 2nd Earl of Northumberland; and Warwick Castle for Lord Brooke, later 1st Earl of Warwick. Smithson was one of the commissioners of Westminster Bridge, and it is "not impossible" that he had encouraged Canaletto to come to England and record the beginning of the bridge's life.[14] His 1754 painting of Old Walton Bridge includes an image of Canaletto himself.

He was often expected to paint England in the fashion with which he had painted his native city. Canaletto's painting began to suffer from repetitiveness, losing its fluidity, and becoming mechanical to the point that the English art critic George Vertue suggested that the man painting under the name 'Canaletto' was an impostor. This may have been because Canaletto's nephew, Bernardo Bellotto, was also using his uncle's nickname; or more likely because the story had been spread by unscrupulous art dealers who had been passing off copies of Canaletto's own work and were anxious to see him return to Venice.[14] Historian Michael Levey described his work from this period as "inhibited".[15]

In order to refute this claim the artist, through an advertisement in a newspaper, invited "any Gentleman" to inspect his latest painting of St. James's Park at his studio in Silver Street (now Beak Street) off Golden Square;[14] however, his reputation never fully recovered in his lifetime.[16]

After his return to Venice, Canaletto was elected to the Venetian Academy in 1763 and appointed prior of the Collegio dei Pittori. He continued to paint until his death in 1768. In his later years he often worked from old sketches, but he sometimes produced surprising new compositions. He was willing to make subtle alterations to topography for artistic effect.[6]

MarketEdit

His students included his nephew Bernardo Bellotto, Francesco Guardi, Michele Marieschi, Gabriele Bella, and Giuseppe Moretti. The painter, Giuseppe Bernardino Bison was a follower of his style.[9]

Joseph Smith sold much of his collection to George III, creating the bulk of the large collection of works by Canaletto owned by the Royal Collection. in 1762, George III paid £20,000 for Consul Smith's collection of 50 paintings and 142 drawings.[17] There are many examples of his work in other British collections, including several (19) at the Wallace Collection and a set of 24 in the dining room at Woburn Abbey. A large set of Canaletto works was also part of the collection of the Earls of Carlisle, however many were lost at the 1940 fire of Castle Howard and others were sold over the last century. Among those formerly at the Carlisle collection are The Bacino di San Marco: looking East, now at the Museum of Fine Arts, Boston (sold in 1939) and the pair Entrance to the Grand Canal from the Molo, Venice and The Square of Saint Mark's, Venice, now at the National Gallery of Art, Washington DC (sold in 1938). The last important venetian veduta at Castle Howard was by Bernardo Bellotto, A View of the Grand Canal Looking South from the Palazzo Foscari, which was sold at Sotheby's in July 2015 for £2.6 million.

Canaletto's views always fetched high prices, and as early as the 18th century Catherine the Great and other European monarchs vied for his grandest paintings. The record price paid at auction for a Canaletto is £18.6 million for View of the Grand Canal from Palazzo Balbi to the Rialto, set at Sotheby's in London in July 2005.

WorksEdit

Painting Title Date Location
  Campo San Giacomo di Rialto, Venice 1697–1768 Sotheby's – New York City
  Canal Scene, Venice – Walters 1697–1768 Walters Art Museum – Baltimore, US
  Place Saint Marc 1697–1768 Musée d'art et d'histoire de Narbonne – France
  Le Grand Canal à Sainte Lucie 1697–1768 Fondation Bemberg – Toulouse, France
  The Grand Canal from Campo della Carità 1697–1768 Gallerie dell'Accademia
  Place of San Giacomo di Rialto in Venice 1697–1768 Gemäldegalerie Alte Meister, Germany
  Venise la place Saint-Marc-Le 1697–1768 Musée des beaux-arts de Brest – France
  ? 1697–1768 Private Collection
The Square and the church San Francesco della Vigna 1697–1768 Private collection, Milan
  Architectural Capriccio 1697–1768 Morgan Library and Museum – New York
Piazzetta in Venice 1700s Alte Pinakothek, Munich, Germany
Venice: the Grand Canal 1700s LLL Art Galleries
  Capriccio Piazza San Marco 1720s Metropolitan Museum of Art- Manhattan, New York
  The Grand Canal near the Rialto Bridge, Venice 1720s Museum of Fine Arts, Houston, US
  The Grand Canal near the Rialto Bridge, Venice 1720 Institut of Applied Statistics, archive of the art department
  The Pantheon 1720 Dayton Art Institute, US
  Capriccio with Gothic church and lagoon c. 1720–21 Galleria d'Italia – Palazzo Leoni Montanari, Vicenza
  Grand Canal, Looking Northeast from Palazo Balbi toward the Rialto Bridge 1720–1723 Ca' Rezzonico, Venice, Italy
  San Cristoforo, San Michele and Murano from the Fondamenta Nuove, Venice 1722–23 Dallas Museum of Art, Dallas, Texas, United States
  The Grand Canal in Venice with the Palazzo Corner Ca'Grande 1722–23 Gallery of Paintings of the Ancient Masters
  Piazza di San Marco, em Veneza 1723 Instituto Ricardo Brennand (IRB), Brazil
Piazza San Marco in Venice looking West with the Campanile 1723 House of Liechtenstein, Liechtenstein
  Piazza San Marco Looking East along the Central Line 1723–24 Thyssen-Bornemisza Museum, Madrid, Spain
  Grand Canal, Looking East from the Campo San Vio 1723–24 Thyssen-Bornemisza Museum, Madrid, Spain
  Rio dei Mendicanti 1723–24 Ca' Rezzonico, Venice, Italy
  Piazza San Marco looking west towards San Geminiano 1723–24 Royal Collection, United Kington
  The Rio dei Mendicanti 1723–24 Ca' Rezzonico, Venice
  The Piazzetta towards San Giorgio Maggiore c. 1724 Royal Collection, Buckingham Palace, England
  The Grand Canal, Venice, Looking North East from the Palazzo Balbi to the Rialto Bridge (1) c. 1724 Private collection
  The Grand Canal, Looking North-East from Palazzo Balbi to the Rialto Bridge (2) c. 1724 Private collection
  The Grand Canal looking south-west from the Rialto to Ca’ Foscari 1724–25 Royal Collection, RU
  The Riva degli Schiavoni 1724–30 Kunsthistorisches Museum, Vienna
  Dogana 1724-c.30 Kunsthistorisches Museum, Vienna
  The Stonemason's Yard c. 1725 National Gallery, London, England
  Rio dei Mendicanti: Looking South c. 1725 Gemäldegalerie Alte Meister, Dresden, Germany
  Entrance to the Grand Canal – Looking East 1725 Gemäldegalerie Alte Meister, Dresden, Germany
  Grand Canal – Looking North-East toward the Rialto Bridge (detail) 1725 Gemäldegalerie Alte Meister, Dresden, Germany
  Doge Palace 1725 Columbia Museum of Art, US
The Parvis of the churches Saint Jean and Saint Paul 1725 Gemäldegalerie Alte Meister, Germany
  Il Canal Grande dalle prossimità del ponte di Rialto 1725 Pinacoteca Giovanni e Marella Agnelli, Turin, Italy
  Il ponte di Rialto da nord 1725 Pinacoteca Giovanni e Marella Agnelli, Turin, Italy
  The Grand Canal near the Ponte di Rialto 1725 Private collection
  The Bacino di San Marco, Venice 1725–26 Farnborough Hall, Warwickshire
  San Giacomo di Rialto 1725–26 Gemäldegalerie Alte Meister
  View of the Isles of San Michele, San Cristoforo and Murano from the Fondamenta Nuove 1725–28 Hermitage Museum, Saint Petersburg, Russia
  View of Church of San Giovanni dei Battuti on the Isle of Murano 1725–1728 Hermitage Museum, Saint Petersburg, Russia
  A View of Dolo on the Brenta Canal 1725–1729 Ashmolean Museum, Oxford, England
  The Piazzetta Looking South-west towards S. Maria della Salute 1725–1730 Royal Collection at Windsor Castle, England
  The Piazzetta Looking towards the Torre dell'Orologio 1725–1730 Royal Collection at Windsor Castle, England
  San Giacomo di Rialto c. 1726 Gemäldegalerie Alte Meister, Dresden, Germany
  The Grand Canal near San Maria della Carità 1726 Pinacoteca Giovanni e Marella Agnelli, Turin, Italy
  Santi Giovanni e Paolo and the Scuola di San Marco 1726 Private collection
  The Bacino di San Marco, Venice, Seen from the Giudecca 1726 Upton House, National Trust, England
  Grand Canal: Looking from Palazzo Balbi c. 1726 Gemäldegalerie Alte Meister, Dresden, Germany
  Grand Canal: Looking North from Near the Rialto Bridge (1) c. 1726 Gemäldegalerie Alte Meister, Dresden, Germany
  Venice: the Grand Canal Looking North from the Rialto Bridge(2) 1726–27 Royal Collection, Windsor Castle, England
  Rialto Bridge from the North 1726–27 Royal Collection, England
  The Grand Canal with the Scalzi and S. Simeone Piccolo 1726–27 Royal Collection, England
  The Reception of the French Ambassador Jacques–Vincent Languet, Comte de Gergy at the Doge’s Palace, Venice 1726–27 Hermitage Museum, Saint Petersburg, Russia
  Venice: S. Geremia and the Entrance to the Cannaregio 1726–1727 Royal Collection, Windsor Castle, England
  The Grand Canal looking south from Ca’ Foscari to the Carità 1726–1727 Royal Collection, RU
  Embouchure du grand canal-musée de Grenoble 1726–28 Musée de Grenoble, France
  Veduta del Canal Grande 1726–28 Galleria degli Uffizi, Florencia, Italy
  The Stonemason's Yard 1726–1730 (or 1727) National Gallery, London, England
  View of the Grand Canal 1726–28 Galleria degli Uffizi, Florencia
  Grand Canal – The Rialto Bridge from the South 1727 Holkham Hall
  View of the Salute Church from the entrance to the Grand Canal detalle 1727 Musées de la Ville de Strasbourg
  Venice: The Grand Canal from the Palazzo Vendramin-Calergi towards S. Geremia 1727–28 Royal Collection, Windsor Castle, England
  Return of the Bucintoro to the Molo on Ascension Day 1727–1732 Royal Collection, Windsor Castle, England
  Benetke, pogled s San Giorgio Maggiore 1727–1730 Pomurje Museum Murska Sobota, Slovenia
  The Grand Canal from the Campo San Vio 1728 National Gallery of Scotland
  The Clock Tower in the Piazza San Marco 1728–1730 Nelson-Atkins Museum of Art, Kansas City, US
  The Grand Canal near the Rialto Bridge, Venice 1728–1732 Museum of Fine Arts, Houston, US
  The Grand Canal with S. Maria della Salute towards the Riva degli Schiavoni 1729–1730 Royal Collection, England
  The Grand Canal from Campo San Vio towards the Bacino 1729–1734 Royal Collection, Windsor Castle, England
  View of the Grand Canal Late 1720s Birmingham Museum of Art, Birmingham, Alabama, United States
  Piazza San Marco (1) Late 1720s Metropolitan Museum of Art, Manhattan, New York, United States
  Piazza San Marco with the Basilica (2) c. 1730 Fogg Art Museum, US
The Doge's Palace, Venice c. 1730 Fitzwilliam Museum, Cambridge, England
  The Doge's Palace and Riva degli Schiavoni, Venice c. 1730 Tatton Park, National Trust, England
  Rialto Bridge c. 1730 Philadelphia Museum of Art, US
  Reception of the Ambassador in the Doge's Palace c. 1730 Private collection
  View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo c. 1730 Fitzwilliam Museum, Cambridge, England
The Entrance to the Grand Canal, Venice c. 1730 Museum of Fine Arts, Houston, Houston, United States
  The Grand Canal, Piazzetta and Dogana, Venice c. 1730 Tatton Park, National Trust, England
  The Piazza San Marco, Venice, looking towards the procuratie nuove and the church of San Geminiano c. 1730 Private collection
  'View of Molo, Venice' c. 1730 El Paso Museum of Art, US
  The Molo, Venice, from the Bacino di San Marco (1) 1730s Private collection Edward Howard, 9th Duke of Norfolk, England
  The Molo Seen from the Bacino di San Marco (2) 1730s Musée du Louvre, Paris, France
  'il molo visto dal bacino di san marco' (3) c. 1730
  'il molo visto dal bacino di san marco' (4) c. 1730
  'il molo visto dal bacino di san marco' (5) c. 1730
  'il molo visto dal bacino di san marco' (6) c. 1730
  The Entrance to the Grand Canal, Venice 1730 Museum of Fine Arts, Houston, US
  veduta del canale di santa chiara a venezia (1) c. 1730 Collections of the Musée Cognacq-Jay
  veduta del canale di santa chiara a venezia (2) c. 1730 Collections of the Musée Cognacq-Jay
  veduta del canale di santa chiara a venezia (3) c. 1730 Collections of the Musée Cognacq-Jay
  veduta del canale di santa chiara a venezia (4) c. 1730 Collections of the Musée Cognacq-Jay
  The Piazzetta, Venice, Looking North 1730s Norton Simon Museum, Pasadena, California
  The Grand Canal looking north-west from Ca' Corner to Ca' Contarini degli Scrigni, with the campanile of Santa Maria della Carità 1730s Norton Simon Museum, Pasadena, California
  The Interior of Henry VII's Chapel, Westminster Abbey 1730s Private collection
  Fonteghetto della Farina 1730s Private Collection
  View of the Piazetta with the Southwest corner of the Doge Palace 1730s Private collection
  Piazza di San Marco, looking towards the Church of San Geminiano Woburn 1730s Woburn Abbey, England
  View Embarkation of the Doge of Venice, for the Ceremony of the Marriage of the Adriatic 1730s Woburn Abbey, England
  Campo Santa Maria Formosa 1730s Private collection
  The Bucintoro Returning to the Molo on Ascension Day after the Ceremony of Wedding the Adriatic 1730s Bowes Museum, United Kingdom
  The Grand Canal, Venice, Looking South toward the Rialto Bridge 1730–39 Metropolitan Museum of Art, Manhattan
  Piazzetta Riva degli Schiavoni, Canaletto, WAF137, Alte Pinakothek Munich 1730–1740 Alte Pinakothek, Munich, Germany
  The Entrance to the Canal Grande at the Punta della Dogana and the Santa Maria della Salute 1730–1745 Rijksmuseum Amsterdam
  The Grand Canal seen from the Palazzo Balbi towards the Bridge of Rialto 1730–1750 Accademia Carrara, Italy
  Venice: the Grand Canal with S. Maria della Salute towards the Riva degli Schiavoni 1730 Royal Collection, Windsor Castle, England
  Piazza San Marco – the Clocktower 1730 Nelson-Atkins Museum of Art, Kansas City, US
  Dogenpalast 1730 Royal Collection, Windsor Castle, England
  The Grand Canal from the Salute towards the Carità 1730 Royal Collection, RU
  Dogenpalast 1730 Private Collection
  Doge Palace 1730 Columbia Museum of Art, USA
The Bacino di San Marco, Looking North 1730 National Museum, Cardiff, Wales
  The Canale di San Marco with the Bucintoro at Anchor 1730–1733

Windsor Castle, English

  The Bucintoro Returning to the Molo on Ascension Day 1730–1735 Bowes Museum, Barnard Castle, England
  Piazza San Marco, Venice 1730 –1735 Fogg Museum, Cambridge, Massachusetts
  Le Burchiello à Venise 1730 –1735 Musée Cognacq-Jay, Paris
  La Piazzetta 1730–1735 Galleria Nazionale d'Arte Antica, Rome
  A Regatta on the Grand Canal 1730–1735 Bowes Museum, Barnard Castle, England
  Il Canale Grande a Rialto 1730–1750 Museo Nacional del Prado. Spain
  La Piazzetta 1730–1750 Galleria Nazionale d'Arte Antica, Rome
  La Régate sur le Grand Canal 1731–32 Bowes Museum, Barnard Castle
  A Regatta on the Grand Canal 1732 Royal Collection at Windsor Castle
  View of the entrance to the Arsenal 1732 Private collection
  Rescloses de Dolo 1732–35 Staatsgalerie Stuttgart, Germany
  Return of the Bucentoro to the Molo on Ascension Day 1733–1734 Collection Buckingham Palace, England
  A View of the Rialto, Venice 1734–35 Sir John Soane's Museum, London, England
  The Piazza di San Marco, Venice 1734–35 Sir John Soane's Museum, London, England
  Venice: the Grand Canal from Campo San Vio towards the Bacino 1734–1760 Wallace Collection, London, England
  Venice: the Grand Canal with Santa Maria della Salute towards the Riva degli Schiavoni 1734–1762 Wallace Collection, London, England
  Venice: the Grand Canal from the Palazzo Foscari to the Carità 1734–1762 Wallace Collection, London, England
  Campo San Rocco circa 1735 Private collection
  Piazza San Marco, Looking toward San Geminiano circa 1735 Galleria nazionale d'arte antica di palazzo Corsini, Rome
  The Molo, Venice c. 1735 Kimbell Art Museum, Fort Worth, Texas, United States
  View of the Piazzetta San Marco Looking South c. 1735 Indianapolis Museum of Art, Indianapolis, Indiana, United States
  Venice: A Regatta on the Grand Canal 1735 National Gallery, London, England
  The Rialto Bridge from the South 1735 Galleria Nazionale d'Arte Antica di Palazzo Corsini, Italy
  The Feast Day of St Roch 1735 National Gallery
  View of the Bacino di San Marco in Venice 1735 Städel Museum, Germany
  The Quay of the Dogana mid 1730s Private collection
  View of Campo Santa Maria Formosa mid 1730s Private collection
  The Entrance to the Canal Grande at the Punta della Dogana and the Santa Maria della Salute Woburn mid 1730s Private collection, Woburn Abbey
  Grand Canal looking East from Palazzo Bembo to Palazzo Vendramin-Calergi Woburn mid 1730s Private collection
  Piazza di San Marco, looking towards the Church of San Geminiano Woburn mid 1730s Woburn Abbey
  View of San Zaccaria mid 1730s Private Collection
  View of the Santi Giovanni e Paolo and the Equestrian Statue of Bartolomeo Colleoni 1735–1738 Private collection
  The Brenta Canal at Padua 1735–40 National Gallery of Art, London, England
  Entrance to the Grand Canal – from the West End of the Molo 1735–40 National Gallery of Art, Washington DC
  Venice the Bacino di San Marco from San Giorgio Maggiore 1735–1744 Wallace Collection, London, England
  View of the Riva degli Schiavoni 1736 Sir John Soane's Museum, London, England
  The Grand Canal at the Salute Church c. 1736–38 Munich Old Pinacoteca
  Venezia, campo Santi Giovanni e Paolo c. 1736–40 Royal Collection
  St. Mark's and the Clock Tower, Venice c. 1737 National Gallery of Canada, Ottawa, Canada
  The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola c. 1738 The J. Paul Getty Museum, Los Angeles
  Il Ritorno del Bucintoro al molo nel giorno dell'Ascensione (c.1738) Canaletto - Wells-Next-The-Sea, The Earl of Leicester and Trustees of the Holkham Estate.jpg c. 1738 Holkham Hall, England
  Il Canal Grande dalla chiesa di Santa Maria di Nazareth 1738 Pinacoteca Giovanni e Marella Agnelli, Ialy
  The Grand Canal looking North-East from the Palazzo Dolfin-Manin to the Rialto Bridge 1738–1739 Private collection
  The Campo Santi Giovanni e Paolo, Venice, with the West End of the Church and the Scuola di San Marco 1738–1739 Private collection
  The St Mark's Square, Venice 1738–1740 Detroit Institute of Arts, Detroit, Michigan, United States
  Bacino di San Marco 1738–1740 Museum of Fine Arts, Boston, United States
  The Grand Canal at the Salute Church 1738–1742 Private Collection
  Il Bucintoro al molo nel giorno dell'Ascensione c. 1740 Pinacoteca Giovanni e Marella Agnelli, Turin, Italy
  View of Piazza San Marco in Venice c. 1740 Musée Jacquemart André, Paris, France
The Rialto Bridge in Venice c. 1740 Musée Jacquemart André, Paris, France
  View of Mestre : alle Barche c. 1740 Fondation Bemberg, Toulouse, France
  View of Dolo c. 1740 Fondation Bemberg, Toulouse, France
  The Molo with the Library and the Entrance to the Grand Canal c. 1740 Private collection
  The Church of the Redentore, Venice c. 1740 Manchester Art Gallery
  The Piazzetta 1740s Galleria Nazionale d'Arte Antica, Rome, Italy
  Arrival of the French Ambassador in Venice (detail) 1740s Hermitage Museum, Russia
  The Piazzetta 1740s Galleria Nazionale d'Arte Antica, Rome, Italy
  View of San Giuseppe di Castello 1740s Private Collection
  A Palladian Design for the Rialto Bridge, with Buildings at Vicenza 1740s Galleria nazionale di Parma, Italy
  Venice: The Campo SS. Giovanni e Paolo 1740 Royal Collection, Windsor Castle, England
  Bemberg Fondation Toulouse 1740 Fondation Bemberg, France
  Regatta on the Canale Grande 1740 Royal Collection, National Gallery de London, England
  Venice The Basin of San Marco on Ascension Day 1740 National Gallery, London, England
  Venice: Santa Maria della Salute 1740 Metropolitan Museum of Art, New York City, United States
  A Regatta on the Grand Canal 1740 National Gallery, London, England
  Giovanni Antonio Canal, il Canaletto - Capriccio - The Grand Canal, with an Imaginary Rialto Bridge and Other Buildings - WGA03937.jpg 1740 Galleria nazionale di Parma
  Venice. The Grand Canal with San Simeone Piccolo (1) 1740 The Wallace Collection, Manchester Square, England
  The Grand Canal with S. Simeone Piccolo (2) 1740 National Gallery of London
  The Reception of the French Ambassador 1740 Hermitage Museum, Russia
  The Molo with the Library and the Entrance to the Grand Canal 1740 Private collection
  The Porta Portello with the Brenta Canal in Padua 1740–43 Albertina, Vienna, Austria
  The portico with a lantern 1740–43 Art Gallery of South Australia
  Venice. The Molo with Santa Maria della Salute 1740–1745 Wallace Collection, London, England

Salute

  Interior of St Marks 1740–1745 Montreal Museum of Fine Arts, Canada
  Venice: the Riva degli Schiavoni 1740–1745 Wallace Collection, London, England
  The Piazza del Campidoglio and the Cordonata 1740–1745 Privade collection
  View of the Grand Canal looking toward the Punta della Dogana from Campo Sant'Ivo c. 1740-1745 Pinacoteca di Brera, Milan, Italy
  View of the Grand Canal from Campo San Vio 1740–1750 Ca' Rezzonico, Venice, Italy
  Venice: the Grand Canal from the Palazzo Foscari to the Carità 1740–1750 Wallace Collection, London, England
  Venice: the Grand Canal from the Palazzo Flangini to San Marcuola (1) 1740–1750 Wallace Collection, London, England
  The Grand Canal from the Palazzo Flangini to San Marcuola (2) 1740–1750 Wallace Collection
  San Marco 1740–1750 Arp Museum Bahnhof Rolandseck, Germany
  Venice: the Canale di Santa Chiara 1740–1750 Wallace Collection, London, England
  Venice the Grand Canal from the Palazzo Dolfin-Manin to the Rialto Bridge 1740–1750 Wallace Collection, London, England
  Venice the Dogana and Santa Maria della Salute from the Molo 1740–1760 Wallace Collection, London, England
  Prà della Valle in Padua 1741–1746 Museo Poldi Pezzoli, Milan, Italy
  Canaletto, The Porta Portello Padua 1741–42 National Gallery of Art, Washington D.C., United States
  Canaletto, il molo verso la riva degli schiavoni con la colonna di san marco, ante 1742 (1) before 1742
  Canaletto, il molo verso la riva degli schiavoni con la colonna di san marco, ante 1742 (2) before 1742
  Canaletto, il molo verso la riva degli schiavoni con la colonna di san marco, ante 1742 (3) before 1742
  Canaletto, il molo verso la riva degli schiavoni con la colonna di san marco, ante 1742 (4) before 1742
  Rome: The Arch of Constantine 1742 Royal Collection, Windsor Castle, England
  Rome: The Arch of Septimius Severus 1742 Royal Collection, Windsor Castle, England
Rome: The Arch of Titus 1742 Royal Collection, Windsor Castle, England
  Rome- Ruins of the Forum, Looking towards the Capitol 1742 Royal Collection, Windsor Castle, England
  Rome: The Pantheon 1742 Royal Collection, Windsor Castle, England
  The Square of Saint Mark's, Venice 1742–1744 National Gallery of Art, Washington D.C., United States
  Entrance to the Grand Canal from the Molo, Venice 1742–1744 National Gallery of Art, Washington D.C., United States
  Entrance to the Grand Canal; Looking East 1742–1744 Windsor Castle, England
  The Piazza San Marco, Venice 1742–1746 Art Gallery of New South Wales, Australia
  The Thames at Westminster 1742–54 Penrhyn Castle, Gales
  Rome: View of the Colosseum and the Arch of Constantine 1743 Royal Collection, Windsor Castle, England
  The Horses of San Marco in the Piazzetta 1743 Royal Collection, Windsor Castle, England
  Venice The Piazzetta Towards The Torre dell' Orologio 1743 Royal Collection Trust, United Kingtom
  Venice The Molo with the Prisons and the Doges' Palace 1743 Royal Collection Trust, United Kingtom
  An Island in the Lagoon with a Gateway and a Church 1743–44 Saint Louis Art Museum, United States
  Entrance to the Grand Canal; Looking East 1744 Royal Collection at Windsor Castle
  The Colleoni Monument in a Caprice Setting 1744 Royal Collection
  View of a River, Perhaps in Padua 1745 Private collection
  Looking North, the Campanile under Repair 1745 Royal Collection at Windsor Castle
  Bacino di San Marco, Venecia 1745 Museum of Fine Arts Boston, US
  The Basilica of Maxentius and the Church of Santa Francesca Romana 1745 Galleria Borghese, Roma
  The Bucintoro 1745–1750 Thyssen-Bornemisza Museum, Madrid, Spain
  'Old Somerset House from the River Thames' 1745–1750 Private collection Simon C. Dickinson Ltd.
  Capriccio of the Rialto Bridge with the Lagoon Beyond 1746 Private collection
  London and the River Thames looking towards Westminster 1746-7
  London and the River Westminster 1746-7
  The River Thames with St. Paul's Cathedral on Lord Mayor's Day 1746–47 Lobkowicz Palace, Prague, Czech Republic
  London seen through an arch of Westminster Bridge 1746–47 Syon House, London
  The City of Westminster from River Thames near the York Water Gate 1746–49 Private Collection (owned by Dukes of Grafton)
  Ruins with Figures 1747 Fitzwilliam Museum, Cambridge, England
  Windsor Castle 1747 Collection of the Duke of Northumberland
  Santi Giovanni e Paolo and the Scuola di San Marco 1747 Gemäldegalerie Alte Meister
  Westminster Bridge Westminster Bridge, with the Lord Mayor's Procession on the Thames 1747 Yale Center for British Art
  The Thames and the City of London from Richmond House (detail) 1747 Private Collection
  London: River Thames looking towards Westminster from Lambeth 1747 Lobkowicz Palace, Prague, Czech Republic
  Whitehall and the Privy Garden from Richmond House 1747 Goodwood House, UK
  London 1747 Private Collection
  Westminster Bridge from the North on Lord Mayor's Day 1747 Yale Center for British Art, University of Yale, US
  Westminster Bridge Under Construction from the South-East Abutment 1747 Private collection Duke of Northumberland
  London, Whitehall and the Privy Garden looking North Buccleuch 1747 Private Collection, the Buccleuch Living Heritage Trust
  The Molo from the Basin of San Marco, Venice 1747–1750 San Diego Museum of Art, San Diego, California[18]
  Venice, a view of the Churches of the Redentore and San Giacomo, with a moored Man-of-war, Gondolas and Barges 1747–1755 Private collection
  The South Façade of Warwick Castle 1748 Thyssen-Bornemisza Museum, Madrid, Spain
  The City of London from the River Thames with St. Paul's Cathedral 1748
  Badminton House, Gloucestershire 1748 Private Collection
Warwick Castle 1748–49 Yale Center for British Art, New Haven, United States
  The Thames at Westminster, London 1749 Penrhyn Castle, National Trust, Gwynedd, Wales
  The Old Horse Guards from St James's Park 1749 Tate Britain
  London – the Old Horse Guards and Banqueting Hall, from St James's Park 1749 Private Collection
  Londra, la guardia di new horse da st. james park 1749
  Westminster Abbey with a Procession of The Knights of the Bath 1749 Westminster Abbey, London
  Syon House 1749 Private collection Duke of Northumberland
  A View of the Old Horse Guards and Banqueting Hall, from St James's Park Probably 1749 Private Collection
  The Prisons probably late 1740s Private collection
  Venice, The Church of San Giorgio Maggiore Probably late 1740s Private collection
  The Rialto Bridge and The Church of S. Giorgio Maggiore c. 1750 North Carolina Museum of Art, Raleigh, North Carolina, United States
  Capriccio with Ruins and Porta Portello, Padua c. 1750 Gallerie dell'Accademia, Venice, Italy
  The Thames from the Terrace of Somerset House, Looking toward Westminster 1750 Yale Center for British Art, New Haven, United States
  Bacino di S. Marco- From the Piazzetta c. 1750 National Gallery of Victoria, Australia
  Capriccio of the Scuola di San Marco from the Loggia of the Palazzo Grifalconi-Loredan Early 1750s Private collection
  Palazzo Vendramin-Calergi, on the Grand Canal, Venice 1750s Private collection
  Veduta del Palazzo Ducale di Venezia 1750s Galleria degli Uffizi, Florence
  Westminster Bridge from the North with the Lord Mayor's Procession 1750 Private Collection
  Cathedral San Paulo 1750
  The Thames from the Terrace of Somerset House, Looking toward Westminster 1750 Yale University Art Gallery, New Haven, United States
  The Thames from the Terrace of Somerset House, Looking toward St. Paul's 1750 Yale Center for British Art, New Haven, United States
  London: The Thames from Somerset House Terrace towards Westminster 1750–51 Royal Collection, Windsor Castle, England
  Rome, The Piazza Navona 1750–51 Tokyo Fuji Art Museum, Japan
  Rome, The Piazza del Quirinale 1750–51 Tokyo Fuji Art Museum, Japan
  London: The Thames from Somerset House Terrace towards the City 1750–51 Royal Collection, Windsor Castle, England
  veduta di greenwich dal fiume 1750–51
  Padua- The River Bacchiglione and the Porta Portello Day 1750–1760 Metropolitan Museum of Art, New York
  A View of Greenwich from the River 1751 Blickling Hall, National Trust, Norfolk, England
  The Grand Walk, Vauxhall Gardens London 1751 Compton Verney Art Gallery, England
  Chelsea School, Rotonda, Ranelagh house and Tamesis river 1751 Museo Nacional de Bellas Artes, La Habana, Cuba
  Chelsea from the Thames at Battersea Reach February 1751 Tate Britain
Alnwick Castle 1752 Alnwick Castle, Northumberland, England
  Greenwich Hospital from the North Bank of the Thames c. 1752 National Maritime Museum, Greenwich, London, England
Warwick Castle, the East Front 1752 Birmingham Museum and Art Gallery, Birmingham, England
  Warwick Castle, the East Front from the Courtyard 1752 Birmingham Museum and Art Gallery, Birmingham, England
Northumberland House 1752 Collection of the Duke of Northumberland
  veduta di greenwich dal fiume 1750–1752
  New Horse Guards from St James’s Park 1752–53 Private collection
  Capriccio of a Renaissance Palazzo with a monumental Staircase, a Clock Tower and the Arch of Titus beyond 1752–55 Private collection Arundel Castle
  London: Northumberland House 1752–1763 Wallace Collection, London, England
  The Interior of Henry VII's Chapel in Westminster Abbey 1753 Museum of London, London, England
  Capriccio of a Round Church with an Elaborate Gothic Portico in a Piazza, a Palladian Piazza and a Gothic Church Beyond 1753–55 Arundel Castle
  Capriccio of a Renaisance Triumphal Arch seen from the Portico of a Palace 1753–55 Arundel Castle
  English Landscape Capriccio with a Column 1754 National Gallery of Art, Washington D.C., United States
  View of Banqueting House and Equestrian Statue of King Charles I 1754 Private Collection
  Capriccio with a Domed Church and the Colleoni Monument probably 1754 Private collection
  English Landscape Capriccio with a Palace 1754 National Gallery of Art, Washington D.C., United States
  Westminster Bridge 1754 Private Collection
  Venice, Bacino di San Marco on Ascension Day 1754 Privade Collection
  The Interior of the Rotunda, Ranelagh, London (1) 1754 Compton Verney Art Gallery, England
  The Interior of the Rotunda, Ranelagh (2) 1754 National Gallery of London
  St. Paul's Cathedral 1754 Yale Center for British Art, New Haven, United States
  A View of Walton Bridge 1754 Dulwich Picture Gallery, London, England
  Eton College 1754 National Gallery, London, England
  Palazzo Ducale and the Piazza di San Marco c. 1755 Galleria degli Uffizi, Florence
  Old Walton Bridge 1755 Yale Center for British Art, New Haven, United States
  San Marco – the Interior 1755 Windsor Castle
  Piazza San Marco – Looking South-West 1755–59 Wadsworth Atheneum Museum of Art, Connecticut, United States
  Saint Mark's, Venice c. 1756 Fitzwilliam Museum, Cambridge, England
  Interior Court of the Doge's Palace, Venice c. 1756 Fitzwilliam Museum, Cambridge, England
  Piazza San Marco – Looking East from the South- West Corner 1756 National Gallery, London, England
  San Marco 1756 Fitzwilliam Museum, UK
  Venice: Palazzo Grimani 1756–58 National Gallery, London, England
  Piazza San Marco Looking East from the North-West Corner 1758 National Gallery, London, England
  Le grand canal – Looking South-East from the Campo Santa Sophia to the Rialto Bridge, Anagoria, Venice (Gemäldegalerie, Berlin) 1758–63 Gemäldegalerie de Berlín and Prussian Cultural Heritage Foundation
  The Campo di Rialto 1758–63 Gemäldegalerie der Staatlichen Museen zu Berlin
The Campo di Rialto and S. Giacomo di Rialto, Venice 1760 National Gallery of Canada, Ottawa, Canada
  The Bucintoro at the Molo on Ascension Day 1760 Dulwich Picture Gallery, London, England
Porta Portello, Padua 1760 Thyssen-Bornemisza Museum, Madrid, Spain
  The Bucintoro at the Molo on Ascension Day 1760 Dulwich Picture Gallery, London, England
  View through a Baroque Colonnade into a Garden 1760–1768 Albertina, Austria
  The Doge and Grand Council in Sala del Maggior Consiglio 1763 Statens Museum for Kunst, Dinamarca
  Doge of Venice Departing for the Lido 1763–67 British Museum, London
  Santa Maria Zobenigo c. 1765 Private Collection
  Scala dei Giganti c. 1765 Private Collection
  Perspective with a Portico 1765 Gallerie dell'Accademia, Venice, Italy
Capriccio with Colonnade in the Interior of a Palace 1765 Thyssen-Bornemisza Museum, Madrid, Spain
The School of San Marco 1765 Thyssen-Bornemisza Museum, Madrid, Spain
  San Marco – the Crossing and North Transept, with Musicians Singing 1766 Kunsthalle Hamburg, Germany
  Vue de Mestre Bemberg before 1768 Fondation Bemberg, France
  Vue de Dolo Bemberg before 1768 Fondation Bemberg, France
  Teilansicht der Piazza San Marco in Venedig 1768

See alsoEdit

ReferencesEdit

  1. ^ a b Filippo Pedrocco (1995). Canaletto. Giunti Editore. ISBN 978-88-09-76198-8.
  2. ^ a b Alice Binion and Lin Barton. "Canaletto." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 6 Jan. 2017
  3. ^ Constable, William G. "Canaletto". Encyclopædia Britannica.
  4. ^ "Canaletto", National Gallery of Art, Washington, D.C.
  5. ^ a b c Haldane MacFall (20 September 2004). A History of Painting: Later Italians and Genius of Spain Part Three. Kessinger Publishing. ISBN 978-1-4179-4508-5.
  6. ^ a b c Betsy Dru Tecco (30 July 2004). Pk:how to Draw Italy. PowerKids Press. ISBN 978-0-8239-6686-8.
  7. ^ J.G. Links, Canaletto and his patrons, Granada Publishing/Paul Elek Ltd., London 1977, p. 1.
  8. ^ Hannah Furness, 'Royal Collection uses infrared to prove Canaletto did not trace his drawings' in The Daily Telegraph (UK newspaper), 14 April 2017.
  9. ^ a b C. A. Fletcher; T. Spencer (14 July 2005). Flooding and Environmental Challenges for Venice and its Lagoon: State of Knowledge. Cambridge University Press. ISBN 978-0-521-84046-0.
  10. ^ "Canaletto | The Stonemason's Yard | NG127 | National Gallery, London". www.nationalgallery.org.uk. Retrieved 22 April 2016.
  11. ^ "Photo Gallery: Munich Nazi Art Stash Revealed". Spiegel. 17 November 2013. Retrieved 17 November 2013.
  12. ^ "Canaletto". National Gallery of Art. Retrieved 2 March 2020.
  13. ^ Antonio Canaletto; Antonio Visentini (1971). Views of Venice: By Canaletto. Courier Dover Publications. ISBN 978-0-486-22705-4.
  14. ^ Michael Levey (1994). Painting in Eighteenth-century Venice. Yale University Press. pp. 114–5. ISBN 978-0-300-06057-7.
  15. ^ John Eglin (13 January 2001). Venice Transfigured: The Myth of Venice in British Culture, 1660–1797. Palgrave Macmillan. ISBN 978-0-312-23299-3.
  16. ^ Louise Jury, the Independent, 11 November, 2005
  17. ^ "The Molo from the Basin of San Marco, Venice". The San Diego Museum of Art. Archived from the original on 8 January 2016. Retrieved 20 September 2014.
  18. ^ "Canale, Antonio" . Encyclopædia Britannica. 5 (11th ed.). 1911. p. 172.

External linksEdit