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Giovanni Antonio Canal, called Canaletto

From landscape painting by Canaletto at the click of a camera.

Canaletto, painter and engraver (Venice, 1697-1768.Iniziò his work as a designer, in colaboration with his father who was, in fact everything in the painter teatro.Non wide production, which goes by the name of C. is to be recognized entirely his own: given the magnitude of requests, sopratuttodei English travelers who visited Venice in large numbers and bring home as a souvenir views. The first
views since around 1730 are painted with greater fluency painting in warm tones and accented more strongly after the contrastante.In inteliatura prospettica.Intorno these years, the C. had to be in relationship with the British consul j Smith later became known art dealer, who apparently acted as a intermendario between C. British and customers (the vast majority in fact, his paintings are still in England.
The C. that, despite the great work and reputation fellow Venetians refused until 1775 to accept a painting in the academy founded in 1763 whereas it the painting of view of low level in the hierarchy of art, but it appears to us today one of the greatest Venetian artists, in fact Europeans of his time on a historical line that leads directly to the heart, the best painting of the nineteenth century.

CANALETTO 1697-1768) Capriccio with the Prisons of San Marco Oil on canvas

The work has been published for the first time since William George Constable with the erroneous title 'Villa Pisani, adjusted by Richard J. Zimmerman in a letter to the student on March 27, 1962.
It is, in reality, a view of the public prisons, a of the highest buildings that overlook the jetty. The new prisons were built to replace the old, overcrowded, dark, airless, who were inside the Ducal Palace. Following the fire which in 1577 had damaged several rooms of this building, it was decided to build a new building of prisons, for the exclusive use of place of punishment and detention, with more space, better ventilation and lighting.
The building is located across the Rio di Palazzo, adjacent to the Palazzo Ducale, which was later combined with the construction of the bridge of Sighs. This bridge was so named because the prisoners awaiting trial were crossing to go to the offices of the court which were painted in the Palazzo Ducale.Il has the most illustrious provenance that can be asked to Canaletto's paintings, because he was ordered by his most important patron and agent, the Consul Joseph Smith, who in 1762 sold it, along with much of his collection to King George III of England. Originally, it was part of the series of thirteen whims on canvas, all having the same measures, designed, probably, as over-Valmarana Mangili to decorate Palace, the famous residence of the Consul of the Grand Canal, just above the Rialto Bridge. Five of these paintings are signed and dated 1744, the year in which, presumably, you must trace the execution of the entire group and Smith in which he was appointed to the British consul

opera "My Prisons" The so-called lead poisoning the top of the already Doge's Palace, covered all of piombo.La My room had a large window, with huge bars, and looked on the roof, likewise lead the church of S. Marco. Beyond the church, I saw in the distance the end of the square, and all share an infinite number of domes and bell towers. The giant bell tower of St. Marco was only separated from me by the length of the church, and I heard those who gave to the top spoke very loudly. Vedevasi also, to the left side of the church, a large portion of the courtyard is a public well, and there were always people to get my prison acqua.Ma being so high, people there seemed to me children and I do not discern their words except when they cried. Pellico.

Canaletto: London as seen through an arch of Westminster Bridge. 1746-47.

The Venetian landscape of Antonio Canaletto The Vedutismo is a genre of painting flourished in the second half of the seventeenth century in Holland and soon spread to Italy, where he met particolare sviluppo esso dà vita a raffigurazioni degli scorci architettonici e scene di vita di città dal glorioso passato storico come Venezia e Roma. Accanto alla scena di genere o ambientale e al ritratto, l'altra tipica specializzazione settecentesca, particolarmente diffusa a Venezia, è appunto la veduta.
Soltanto nel Settecento la «veduta», indipendentemente dalla presenza attiva dell'uomo, diventa protagonista. Il contesto culturale che determina il nuovo indirizzo è l'ideologia illuminista, che cerca di capire attraverso i lumi della ragione le logiche organizzative, sociali ed economiche della società in cui siamo inseriti.

Ponte di Westminster Bridge...oggi

Canaletto: Il bacino di San Marco. 1738-40, olio su tela.
Museum of Fine Arts, Boston, MA, Stati Uniti d'America.

Le immagini degli scorci urbani sono anche richieste da chi, non potendo affrontare un lungo viaggio, desiderava ugualmente conoscere, almeno attraverso la rappresentazione pittorica, luoghi tanto famosi. Si tratta di vedute per lo più scrupolosissime. Anzi, per ottenere maggiore verità di quanta non possa restituirla l'occhio umano, ci si serviva di uno speciale apparecchio, la «camera ottica», uno strumento ( conosciuto fin dai tempi più antichi ) che, come avviene nella camera oscura, facendo passare all'interno, mediante un piccolo foro, i raggi della luce, permetteva di proiettare l'immagine della realtà sulla superficie opposta, dove appariva capovolta e sfocata; raddrizzata e resa nitida con lenti e specchi, essa, riflessa su uno schermo di carta oleata o su un vetro smerigliato, veniva ricalcata dall'operatore.

Il bacino di S. Marco.

Canaletto: L'abbazia di Westminster come appariva nel 1848.

Gli esiti delle rilevazioni della camera ottica sono comunque appunti, schizzi, successivamente reworked and painted in the studio: scaraboti, or scribbles, described them as Canaletto, which they also add color or notations regarding the possible distortions caused by the camera. The "camera obscura" is not delegated to cancel the artist's personality. It is a necessary tool in the conception of the Enlightenment, to rediscover the objectivity of rational perspective, after the spectacular baroque virtuosity with its illusionistic scenes had prevented an orderly examination of the environmental reality. The eighteenth-century rationalism, redesigned from scratch with the laws of perspective, verifies its validity with the use of machinery and provides some certainty on how perceptive eye human, capable of giving life to the figurative space perspective, without excluding some distortions due to optical aberrations.

Westminster Abbey as it appears today, is 34 meters long and 156 wide. The ceiling is 34 meters high. Within the many chapels dedicated to corners or tombs for the rulers that followed and for the UK's most prominent men. There are many statues and works of art dating from the Renaissance engineer and the Victorian period. Some of them are not really religious, such as the monument dedicated to Sir Isaac Newton (1713) or the statue ever dedicated to Isaac Newton, or statues dedicated to the poets Ben Jonson and John Milton (the so-called Poet's Corner or Poets' Corner). In this corner are actually buried the remains of some of the most important English poets, for others there are only a commemorative statue.

Canaletto Rome: The Arch of Titus. 1742.Olio on canvas. Royal Collection, UK.

in 1719 and 1720, Canaletto went to Rome and painted scenes for works of Scarlatti.Probabile inteliatura greater emphasis than in Rome has known the views of Vanvitelli and other painters of the Dutch and Flemings, that there lavoravano.C. looked at a lot of works by Luca Carlevarjis probably where he learned use of the room ottica.Nel 1722, it is likely that the C. was in contact with those "British amateurs who were his main customers for life" He turned then to the view from the theater, starting a business that until the death was intense.

Arch of Titus today

Canaletto: Riva degli Schiavoni: 1730.

In Venice, however, the best known example of the Italian landscape painting, even for the large fortune acquired abroad. Canaletto and Luca Carlevarijs Besides, other researchers were painters Bernardo Bellotto, Maneschi Michele and Francesco Guardi. The environment was characterized by a Venetian painting and minute attention to detail taken from the real model vanvitelliano Seicento.per already at the end of the young Canaletto was important knowledge, which took place in Rome, Vanvitelli of landscape painting.