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571:. 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.
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has led experts in the past to believe that much of the detail in his paintings had been achieved by tracing the image off a camera obscura. It is known that
Canaletto owned a camera obscura, but several experts today are of the opinion that he may have taken some inspiration from it, rather than
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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
641:, 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. Historian Michael Levey described his work from this period as "inhibited".
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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
667:. 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.
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625:. 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. His 1754 painting of
322:("little Canal"), and Artemisia Barbieri. Canaletto served an apprenticeship with his father and his brother of a theatrical scene painter. In 1718, having already taken part in designing sets for operas by
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713:. In 1762, George III paid £20,000 for Consul Smith's collection of 50 paintings and 142 drawings. There are many examples of his work in other British collections, including several (19) at the
386:, 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."
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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) (
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In order to refute this claim the artist, through an advertisement in a newspaper, invited "any
Gentleman" to inspect his latest painting of
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450:. His large-scale landscapes portrayed the city's pageantry and waning traditions, making innovative use of atmospheric effects and strong
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Joseph Smith sold much of his collection to George III, creating the bulk of the large collection of works by
Canaletto owned by the
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suggested that the man painting under the name 'Canaletto' was an impostor. This may have been because
Canaletto's nephew,
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After returning from Rome in 1719, he began painting in his topographical style. His first known signed and dated work is
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Canaletto's early works remain his most coveted and, according to many authorities, his best. One of his early pieces is
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Alice Binion and Lin Barton. "Canaletto." Grove Art Online. Oxford Art Online. Oxford
University Press. Web. 6 Jan. 2017
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Furness, Hannah. (14 April 2017). "Royal
Collection uses infrared to prove Canaletto did not trace his drawings".
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and other
European monarchs vied for his grandest paintings. The record price paid at auction for a Canaletto is
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and others were sold over the last century. Among those formerly at the Carlisle collection are
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He remained in England until 1755, producing views of London (including several of the new
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actually using it for accurate photorealistic tracing in preparation for his paintings.
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Flooding and Environmental Challenges for Venice and its Lagoon: State of Knowledge
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Canaletto, Giovanni Antonio Canal 1697-1768, Volume One: Life and Work, The Plates
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Canaletto's views always fetched high prices, and as early as the 18th century
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1591:"Canaletto | The Stonemason's Yard | NG127 | National Gallery, London"
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Whilst in England, between 1749 and 1752 Canaletto lived at number 41
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Later, Canaletto painted grand scenes of the canals of Venice and the
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The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola
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Venice Transfigured: The Myth of Venice in British Culture, 1660–1797
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Williams, George G. Assisted by Marian and Geoffrey Williams. (1973)
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A History of Painting: Later Italians and Genius of Spain Part Three
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A View of the Grand Canal Looking South from the Palazzo Foscari
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for Sir Hugh Smithson, Bt., who by marriage later became the
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After his return to Venice, Canaletto was elected to the
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technique. In the period from 1746 to 1756, he worked in
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The Doge and Grand Council in Sala del Maggior Consiglio
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In the 1740s, Canaletto's market was disrupted when the
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The Bucentaur Returns to the Pier at the Doge's Palace
1364:"Canaletto", National Gallery of Art, Washington, D.C.
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Many of his pictures were sold to Englishmen on their
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1720:Links, J. G. (April 1981). "Canaletto in England".
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2007:Bacino di San Marco from the Puntana della Dogana
1860:. Vol. 5 (11th ed.). 1911. p. 172.
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739:Entrance to the Grand Canal from the Molo, Venice
314:He was born in Venice as the son of the painter
1813:Louise Jury, the Independent, 11 November, 2005
1616:"Photo Gallery: Munich Nazi Art Stash Revealed"
761:, which was sold at Sotheby's in July 2015 for
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1666:Antonio Canaletto; Antonio Visentini (1971).
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1999:The Grand Canal and the Church of the Salute
1501:C. A. Fletcher; T. Spencer (14 July 2005).
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1967:The French Ambassador's Arrival in Venice
1753:. Yale University Press. pp. 114–5.
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1975:The Entrance to the Grand Canal, Venice
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1400:. Oxford, Clarendon Press. p. 9.
717:and a set of 24 in the dining room at
1750:Painting in Eighteenth-century Venice
1426:Haldane MacFall (20 September 2004).
1017:Westminster Bridge Under Construction
731:The Bacino di San Marco: looking East
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1722:Journal of the Royal Society of Arts
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350:during the carnival season of 1720.
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663:in 1763 and appointed prior of the
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1874:132 artworks by or after Canaletto
949:Capriccio with Palladian buildings
743:The Square of Saint Mark's, Venice
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2164:18th-century Italian male artists
1539:Erkelens, Casper (1 March 2020).
682:His students included his nephew
2047:The Grand Walk, Vauxhall Gardens
1456:Betsy Dru Tecco (30 July 2004).
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1774:John Eglin (13 January 2001).
1670:. Courier Dover Publications.
1505:. Cambridge University Press.
576:War of the Austrian Succession
563:, first through the agency of
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2149:18th-century Italian painters
1825:"Bacino di San Marco, Venice"
1668:Views of Venice: By Canaletto
888:The Arch of Constantine, Rome
778:View of the Grand Canal from
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2015:The Pra della Valle in Padua
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417:View of the Entrance to the
346:which were performed at the
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735:Museum of Fine Arts, Boston
486:Morgan Library & Museum
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2109:Italian landscape painters
1595:www.nationalgallery.org.uk
1251:List of works by Canaletto
615:2nd Earl of Northumberland
584:Italian for fancy) in his
496:The portico with a lantern
21:Canaletto (disambiguation)
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1561:10.1163/22134913-20191131
1486:Canaletto and his patrons
1278:Filippo Pedrocco (1995).
704:Giuseppe Bernardino Bison
229:Painter of cityscapes or
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1889:The Canaletto Foundation
1692:Guide to Literary London
1430:. Kessinger Publishing.
918:The Piazza del Quirinale
858:The Feast Day of St Roch
843:Piazza San Marco, Venice
788:in London in July 2005.
753:at Castle Howard was by
441:National Gallery, London
1857:Encyclopædia Britannica
1851:"Canale, Antonio"
1799:Lonely Planet website,
1646:National Gallery of Art
1396:Constable, W.G (1962).
1351:Encyclopædia Britannica
1191:A View of Walton Bridge
747:National Gallery of Art
621:for Lord Brooke, later
567:, and later the banker
482:Architectural Capriccio
365:Architectural Capriccio
1778:. Palgrave Macmillan.
1747:Michael Levey (1994).
1345:Constable, William G.
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358:Giovanni Paolo Pannini
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1959:The Stonemason's Yard
903:Piazza Navona in Rome
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467:2012 Munich Art Hoard
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380:Alessandro Marchesini
378:In 1725, the painter
301:The Stonemason's Yard
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273:Joseph "Consul" Smith
140:The Stonemason's Yard
2055:Northumberland House
1554:. brill.com: 49–67.
1460:Pk:how to Draw Italy
1175:St. Paul's Cathedral
1144:Northumberland House
980:Santa Maria Zobenigo
665:Collegio dei Pittori
611:Northumberland House
395:produced by using a
340:Tito Sempronio Greco
336:Alessandro Scarlatti
318:, hence his mononym
211:[kanaˈletto]
19:For other uses, see
1829:collections.mfa.org
1527:The Daily Telegraph
1464:. PowerKids Press.
770:Catherine the Great
623:1st Earl of Warwick
552:Knights of the Bath
408:Early and late work
1884:Web Gallery of Art
1728:(5297): 301, 304.
1622:. 17 November 2013
1548:Art and Perception
1282:. Giunti Editore.
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715:Wallace Collection
607:Westminster Bridge
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154:Artemisia Barbieri
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2039:Westminster Abbey
1953:List of paintings
1801:Chiesa di San Lio
1785:978-0-312-23299-3
1760:978-0-300-06057-7
1677:978-0-486-22705-4
1512:978-0-521-84046-0
1471:978-0-8239-6686-8
1437:978-1-4179-4508-5
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776:18.6 million for
755:Bernardo Bellotto
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1049:Warwick Castle
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619:Warwick Castle
529:Richmond House
474:
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328:Giovanni Porto
316:Bernardo Canal
284:
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269:Alnwick Castle
265:Warwick Castle
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119:Known for
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83:(aged 70)
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782:to the Rialto
781:
780:Palazzo Balbi
775:
771:
766:
765:2.6 million.
764:
760:
756:
752:
748:
745:, now at the
744:
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733:, now at the
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452:local colours
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448:Doge's Palace
444:
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123:Landscape art
121:
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79:19 April 1768
78:
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70:
66:
49:
45:
41:
36:
29:
26:
22:
2061:
2053:
2045:
2037:
2029:
2021:
2013:
2005:
1997:
1989:
1981:
1973:
1965:
1957:
1938:
1899:
1876: at the
1855:
1844:
1832:. Retrieved
1828:
1819:
1808:
1800:
1794:
1775:
1769:
1749:
1742:
1725:
1721:
1691:
1686:
1667:
1661:
1649:. Retrieved
1645:
1636:
1624:. Retrieved
1619:
1610:
1598:. Retrieved
1594:
1585:
1573:. Retrieved
1551:
1547:
1534:
1521:
1502:
1485:
1484:J.G. Links,
1480:
1459:
1427:
1397:
1391:
1379:. Retrieved
1370:
1359:
1350:
1340:
1316:. Retrieved
1314:(in Italian)
1311:
1298:
1279:
1236:
1222:Eton College
1221:
1206:
1189:
1174:
1159:
1142:
1127:
1110:
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742:
738:
730:
719:Woburn Abbey
708:
681:
669:
664:
658:
643:
631:
604:
598:in London's
593:
585:
579:
573:
569:Joseph Smith
558:
546:
533:
532:: a classic
525:River Thames
522:
499:
495:
481:
462:
460:
445:
427:
425:
416:
393:
377:
364:
362:
354:
352:
343:
339:
319:
313:
299:
283:Early career
230:
228:
202:
198:
197:
173:Joseph Smith
138:
134:Notable work
81:(1768-04-19)
25:
2124:1768 deaths
2119:1697 births
2018:(1741–1746)
2010:(1740–1745)
1970:(1726–1727)
1642:"Canaletto"
1626:17 November
1376:"Canaletto"
1347:"Canaletto"
1312:DiPI Online
1308:"Canaletto"
952:, c.1756-59
650:Beak Street
596:Beak Street
484:, drawing,
437: 1725
401:perspective
309: 1725
99:Nationality
93:(now Italy)
2103:Categories
1834:2 November
1704:0713401419
1698:, p. 208.
1694:. London:
1575:26 October
1407:0198173245
1263:References
1064:Syon House
602:district.
565:Owen Swiny
561:Grand Tour
510:The first
373:cityscapes
304:, painted
277:George III
255:using the
253:printmaker
169:Owen Swiny
57:1697-10-18
2002:(c. 1740)
1986:(c. 1730)
1946:Paintings
1939:Canaletto
1901:Canaletto
1570:212940083
1280:Canaletto
786:Sotheby's
784:, set at
581:capriccio
355:vedutista
320:Canaletto
279:in 1762.
218:from the
203:Canaletto
183:Signature
164:Patron(s)
147:Parent(s)
109:Education
32:Canaletto
2089:(nephew)
2083:(father)
2050:(c.1751)
1734:41373290
1696:Batsford
1600:22 April
1318:17 March
1245:See also
1051:, c.1748
982:, c.1765
249:capricci
207:Italian:
103:Venetian
2074:Related
1651:2 March
1620:Spiegel
1381:29 July
988:England
792:Gallery
261:England
257:etching
216:painter
127:etching
2066:(1754)
2058:(1752)
2042:(1749)
2034:(1749)
2026:(1747)
1994:(1738)
1978:(1730)
1962:(1725)
1878:Art UK
1782:
1757:
1732:
1702:
1674:
1568:
1509:
1468:
1434:
1404:
1286:
1239:, 1754
1224:, 1754
1209:, 1754
1194:, 1754
1177:, 1754
1162:, 1753
1147:, 1752
1130:, 1751
1115:, 1751
1098:, 1750
1083:, 1749
1066:, 1749
1036:, 1747
1019:, 1747
967:, 1763
935:, 1756
920:, 1750
905:, 1750
890:, 1742
875:, 1740
860:, 1735
845:, 1730
830:, 1730
813:, 1726
751:veduta
678:Market
652:) off
617:; and
589:ideali
587:vedute
555:, 1749
538:, 1747
535:veduta
514:, 1746
500:Vedute
439:, the
422:, 1732
245:London
243:, and
237:Venice
232:vedute
87:Venice
65:Venice
1730:JSTOR
1566:S2CID
1544:(PDF)
797:Italy
527:from
235:, of
1880:site
1836:2020
1780:ISBN
1755:ISBN
1700:ISBN
1672:ISBN
1653:2020
1628:2013
1602:2016
1577:2022
1507:ISBN
1466:ISBN
1432:ISBN
1402:ISBN
1383:2022
1320:2021
1284:ISBN
1004:1747
741:and
698:and
600:Soho
523:The
342:and
330:and
267:and
241:Rome
76:Died
47:Born
1726:129
1556:doi
2105::
1854:.
1827:.
1724:.
1710:^
1644:.
1618:.
1593:.
1564:.
1550:.
1546:.
1493:^
1446:^
1416:^
1349:.
1328:^
1310:.
1306:.
1270:^
757:,
694:,
690:,
686:,
469:.
458:.
434:c.
338:,
326:,
306:c.
239:,
226:.
125:,
89:,
67:,
1931:e
1924:t
1917:v
1838:.
1788:.
1763:.
1736:.
1680:.
1655:.
1630:.
1604:.
1579:.
1558::
1552:8
1529:.
1515:.
1474:.
1440:.
1410:.
1385:.
1353:.
1322:.
1292:.
774:£
763:£
432:(
205:(
59:)
55:(
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
