Canaletto: 70 Drawings and Prints E-Book

Narim Bender

• Herausgeber: Narim Bender
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Veröffentlichungsjahr: 2015

Beschreibung

Giovanni Antonio Canal, better known as Canaletto, was an Italian painter of landscapes of Venice. He was also an important printmaker in etching. 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 color – an effect produced by using a camera obscura, which blurs farther-away objects. His early works remain his most coveted and, according to many authorities, his best. One of his early pieces is The Stonemason's Yard (1729) which depicts a humble working area of the city. 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 colors. For these qualities, his works may be said to have anticipated Impressionism.

Leseprobe

Canaletto:

70 Drawings and Prints

By Narim Bender

––––––––

First Edition

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Canaletto: 70 Drawings and Prints

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Copyright © 2015 Narim Bender

Table of Contents

Title Page

Copyright Page

Foreword

Drawings and Prints

Foreword

Giovanni Antonio Canal (1697 – 1768) better known as Canaletto, was an Italian painter of landscapes of Venice. He was also an important printmaker in etching.

He was born in Venice as the son of the painter Bernardo Canal, hence his mononym Canaletto ("little Canal"), and Artemisia Barbieri. Bernardo Bellotto was his nephew and pupil. 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 Capriccio (1723). Studying with the older Luca Carlevarijs, a moderately-talented painter of urban cityscapes, he rapidly became his master's equal.

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 produced by using a camera obscura, which blurs farther-away objects. However, his paintings are always notable for their accuracy: he recorded the seasonal submerging of Venice in water and ice. In this painting, the high viewpoint gives the illusion of looking out of a window, but there is no building in the position where the artist would have had to stand to use the "camera".

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 (1729) which depicts a humble working area of the city.

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 colors. For these qualities, his works may be said to have anticipated Impressionism.

Many of his pictures were sold to Englishmen on their Grand Tour, often through the agency of the merchant Joseph Smith, who was later appointed British Consul in Venice in 1744. It was Smith who acted as an agent for Canaletto, first in requesting paintings of Venice from the painter in the early 1720s and helping him to sell his paintings to other Englishmen.

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. Smith also arranged for the publication of a series of etchings of "capricci" (or architectural phantasies) in his vedute ideale, but the returns were not high enough, and in 1746 Canaletto moved to London, to be closer to his market. He remained in England until 1755, producing views of London (including the Westminster Bridge) and of his patrons' castles and houses. 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. The artist was compelled to give public painting demonstrations in order to refute this claim; however, his reputation never fully recovered in his lifetime.

After his return to Venice, Canaletto was elected to the Venetian Academy in 1763. 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 alternations to topography for artistic effect.

His pupils 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. 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.

Drawings and Prints

The "Giovedì Grasso" Festival before the Ducal Palace in Venice