Canaletto

Giovanni Antonio Canal (18 October 1697 – 19 April 1768),[1] commonly known as Canaletto (Italian: [kanaˈletto]), was an Italian painter from the Republic of Venice, considered important member of the 18th-century Venetian school.

Canaletto
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

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]

Early career

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 an apprenticeship with his father and his brother of a theatrical scene painter. During his time in Rome he worked with his father producing the scenery for two operas by the composer Alessandro Scarlatti, Tito Sempronio Greco and Turno Aricino which were performed at the Teatro Catranica during the carnival season of 1720.[5]

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.[6] 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,[6][7] 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."[8]

Outdoor painting

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.[9]

However, his paintings are always notable for their accuracy: he recorded the seasonal submerging of Venice in water and ice.[10]

Early and late work

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.[11]

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.[12]

Work in England

Architectural Capriccio, drawing, Morgan Library & Museum
The portico with a lantern, from the series Vedute, c. 1740–1744, etching
The first Westminster Bridge, 1746
The River Thames from Richmond House: a classic veduta, 1747
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.[13]

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.[14] Smith also arranged for the publication of a series of etchings of "capricci" (or architectural phantasies) (capriccio Italian for fancy) in his vedute ideale,[7] but the returns were not high enough, and in 1746 Canaletto moved to London, to be closer to his market.[6]

Whilst in England, between 1749 and 1752 Canaletto lived at number 41 Beak Street in London's Soho district.[15]

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.[16] 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.[16] Historian Michael Levey described his work from this period as "inhibited".[17]

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;[16] however, his reputation never fully recovered in his lifetime.[18]

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.[7]

Market

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.[10]

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.[19] 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)[20] 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.

Works

PaintingTitleDateLocation
Campo San Giacomo di Rialto, Venice1697–1768Sotheby's – New York City
Canal Scene, Venice – Walters1697–1768Walters Art Museum – Baltimore, US
Place Saint Marc1697–1768Musée d'art et d'histoire de Narbonne – France
Le Grand Canal à Sainte Lucie1697–1768Fondation Bemberg – Toulouse, France
The Grand Canal from Campo della Carità1697–1768Gallerie dell'Accademia
Place of San Giacomo di Rialto in Venice1697–1768Gemäldegalerie Alte Meister, Germany
Venise la place Saint-Marc-Le1697–1768Musée des beaux-arts de Brest – France
?1697–1768Private Collection
The Square and the church San Francesco della Vigna 1697–1768Private collection, Milan
Architectural Capriccio1697–1768Morgan Library and Museum – New York
Piazzetta in Venice1700sAlte Pinakothek, Munich, Germany
Venice: the Grand Canal1700sLLL Art Galleries
Capriccio Piazza San Marco1720sMetropolitan Museum of Art- Manhattan, New York
The Grand Canal near the Rialto Bridge, Venice1720sMuseum of Fine Arts, Houston, US
The Grand Canal near the Rialto Bridge, Venice1720Institut of Applied Statistics, archive of the art department
The Pantheon1720Dayton Art Institute, US
Capriccio with Gothic church and lagoonc. 1720–21Galleria d'Italia – Palazzo Leoni Montanari, Vicenza
Grand Canal, Looking Northeast from Palazo Balbi toward the Rialto Bridge1720–1723Ca' Rezzonico, Venice, Italy
San Cristoforo, San Michele and Murano from the Fondamenta Nuove, Venice 1722–23Dallas Museum of Art, Dallas, Texas, United States
The Grand Canal in Venice with the Palazzo Corner Ca'Grande 1722–23Gallery of Paintings of the Ancient Masters
Piazza di San Marco, em Veneza 1723Instituto Ricardo Brennand (IRB), Brazil
Piazza San Marco in Venice looking West with the Campanile 1723House of Liechtenstein, Liechtenstein
Piazza San Marco Looking East along the Central Line1723–24Thyssen-Bornemisza Museum, Madrid, Spain
Grand Canal, Looking East from the Campo San Vio1723–24Thyssen-Bornemisza Museum, Madrid, Spain
Rio dei Mendicanti1723–24Ca' Rezzonico, Venice, Italy
Piazza San Marco looking west towards San Geminiano1723–24Royal Collection, United Kington
The Rio dei Mendicanti1723–24Ca' Rezzonico, Venice
The Piazzetta towards San Giorgio Maggiorec.1724Royal Collection, Buckingham Palace, England
The Grand Canal, Venice, Looking North East from the Palazzo Balbi to the Rialto Bridge (1) c.1724Private collection
The Grand Canal, Looking North-East from Palazzo Balbi to the Rialto Bridge (2) c.1724Private collection
The Grand Canal looking south-west from the Rialto to Ca’ Foscari1724–25Royal Collection, RU
The Riva degli Schiavoni1724–30Kunsthistorisches Museum, Vienna
Dogana1724-c.30Kunsthistorisches Museum, Vienna
The Stonemason's Yardc.1725National Gallery, London, England
Rio dei Mendicanti: Looking South c.1725Gemäldegalerie Alte Meister, Dresden, Germany
Entrance to the Grand Canal – Looking East1725Gemäldegalerie Alte Meister, Dresden, Germany
Grand Canal – Looking North-East toward the Rialto Bridge (detail)1725Gemäldegalerie Alte Meister, Dresden, Germany
Doge Palace 1725Columbia Museum of Art, US
The Parvis of the churches Saint Jean and Saint Paul 1725Gemäldegalerie Alte Meister, Germany
Il Canal Grande dalle prossimità del ponte di Rialto 1725Pinacoteca Giovanni e Marella Agnelli, Turin, Italy
Il ponte di Rialto da nord 1725Pinacoteca Giovanni e Marella Agnelli, Turin, Italy
The Grand Canal near the Ponte di Rialto 1725Private collection
The Bacino di San Marco, Venice1725–26Farnborough Hall, Warwickshire
San Giacomo di Rialto1725–26Gemäldegalerie Alte Meister
View of the Isles of San Michele, San Cristoforo and Murano from the Fondamenta Nuove1725–28Hermitage Museum, Saint Petersburg, Russia
View of Church of San Giovanni dei Battuti on the Isle of Murano 1725–1728Hermitage Museum, Saint Petersburg, Russia
A View of Dolo on the Brenta Canal 1725–1729Ashmolean Museum, Oxford, England
The Piazzetta Looking South-west towards S. Maria della Salute 1725–1730Royal Collection at Windsor Castle, England
The Piazzetta Looking towards the Torre dell'Orologio1725–1730Royal Collection at Windsor Castle, England
San Giacomo di Rialto c.1726Gemäldegalerie Alte Meister, Dresden, Germany
The Grand Canal near San Maria della Carità 1726Pinacoteca Giovanni e Marella Agnelli, Turin, Italy
Santi Giovanni e Paolo and the Scuola di San Marco 1726Private collection
The Bacino di San Marco, Venice, Seen from the Giudecca1726Upton House, National Trust, England
Grand Canal: Looking from Palazzo Balbi c.1726Gemäldegalerie Alte Meister, Dresden, Germany
Grand Canal: Looking North from Near the Rialto Bridge (1) c.1726Gemäldegalerie Alte Meister, Dresden, Germany
Venice: the Grand Canal Looking North from the Rialto Bridge(2) 1726–27Royal Collection, Windsor Castle, England
Rialto Bridge from the North1726–27Royal Collection, England
The Grand Canal with the Scalzi and S. Simeone Piccolo1726–27Royal Collection, England
The Reception of the French Ambassador Jacques–Vincent Languet, Comte de Gergy at the Doge’s Palace, Venice 1726–27Hermitage Museum, Saint Petersburg, Russia
Venice: S. Geremia and the Entrance to the Cannaregio1726–1727Royal Collection, Windsor Castle, England
The Grand Canal looking south from Ca’ Foscari to the Carità1726–1727Royal Collection, RU
Embouchure du grand canal-musée de Grenoble 1726–28Musée de Grenoble, France
Veduta del Canal Grande 1726–28Galleria degli Uffizi, Florencia, Italy
The Stonemason's Yard1726–1730 (or 1727)National Gallery, London, England
View of the Grand Canal1726–28Galleria degli Uffizi, Florencia
Grand Canal – The Rialto Bridge from the South 1727Holkham Hall
View of the Salute Church from the entrance to the Grand Canal detalle 1727Musées de la Ville de Strasbourg
Venice: The Grand Canal from the Palazzo Vendramin-Calergi towards S. Geremia 1727–28Royal Collection, Windsor Castle, England
Return of the Bucintoro to the Molo on Ascension Day 1727–1732Royal Collection, Windsor Castle, England
Benetke, pogled s San Giorgio Maggiore 1727–1730Pomurje Museum Murska Sobota, Slovenia
The Grand Canal from the Campo San Vio 1728National Gallery of Scotland
The Clock Tower in the Piazza San Marco 1728–1730Nelson-Atkins Museum of Art, Kansas City, US
The Grand Canal near the Rialto Bridge, Venice 1728–1732Museum of Fine Arts, Houston, US
The Grand Canal with S. Maria della Salute towards the Riva degli Schiavoni 1729–1730Royal Collection, England
The Grand Canal from Campo San Vio towards the Bacino 1729–1734Royal Collection, Windsor Castle, England
View of the Grand CanalLate 1720sBirmingham Museum of Art, Birmingham, Alabama, United States
Piazza San Marco (1)Late 1720sMetropolitan Museum of Art, Manhattan, New York, United States
Piazza San Marco with the Basilica (2) c.1730Fogg Art Museum, US
The Doge's Palace, Venice c.1730Fitzwilliam Museum, Cambridge, England
The Doge's Palace and Riva degli Schiavoni, Venice c.1730Tatton Park, National Trust, England
Rialto Bridge c.1730Philadelphia Museum of Art, US
Reception of the Ambassador in the Doge's Palace c.1730Private collection
View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo c.1730Fitzwilliam Museum, Cambridge, England
The Entrance to the Grand Canal, Venicec.1730Museum of Fine Arts, Houston, Houston, United States
The Grand Canal, Piazzetta and Dogana, Venicec.1730Tatton Park, National Trust, England
The Piazza San Marco, Venice, looking towards the procuratie nuove and the church of San Geminiano c. 1730Private collection
'View of Molo, Venice'c. 1730El Paso Museum of Art, US
The Molo, Venice, from the Bacino di San Marco (1) 1730sPrivate collection Edward Howard, 9th Duke of Norfolk, England
The Molo Seen from the Bacino di San Marco (2)1730sMusée 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 1730Museum of Fine Arts, Houston, US
veduta del canale di santa chiara a venezia (1)c. 1730Collections of the Musée Cognacq-Jay
veduta del canale di santa chiara a venezia (2)c. 1730Collections of the Musée Cognacq-Jay
veduta del canale di santa chiara a venezia (3)c. 1730Collections of the Musée Cognacq-Jay
veduta del canale di santa chiara a venezia (4)c. 1730Collections of the Musée Cognacq-Jay
The Piazzetta, Venice, Looking North 1730sNorton 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 1730sNorton Simon Museum, Pasadena, California
The Interior of Henry VII's Chapel, Westminster Abbey 1730sPrivate collection
Fonteghetto della Farina1730sPrivate Collection
View of the Piazetta with the Southwest corner of the Doge Palace1730sPrivate collection
Piazza di San Marco, looking towards the Church of San Geminiano Woburn1730sWoburn Abbey, England
View Embarkation of the Doge of Venice, for the Ceremony of the Marriage of the Adriatic1730sWoburn Abbey, England
Campo Santa Maria Formosa1730sPrivate collection
The Bucintoro Returning to the Molo on Ascension Day after the Ceremony of Wedding the Adriatic1730sBowes Museum, United Kingdom
The Grand Canal, Venice, Looking South toward the Rialto Bridge1730–39Metropolitan Museum of Art, Manhattan
Piazzetta Riva degli Schiavoni, Canaletto, WAF137, Alte Pinakothek Munich 1730–1740Alte Pinakothek, Munich, Germany
The Entrance to the Canal Grande at the Punta della Dogana and the Santa Maria della Salute 1730–1745Rijksmuseum Amsterdam
The Grand Canal seen from the Palazzo Balbi towards the Bridge of Rialto 1730–1750Accademia Carrara, Italy
Venice: the Grand Canal with S. Maria della Salute towards the Riva degli Schiavoni 1730Royal Collection, Windsor Castle, England
Piazza San Marco – the Clocktower 1730Nelson-Atkins Museum of Art, Kansas City, US
Dogenpalast 1730Royal Collection, Windsor Castle, England
The Grand Canal from the Salute towards the Carità 1730Royal Collection, RU
Dogenpalast 1730Private Collection
Doge Palace 1730Columbia Museum of Art, USA
The Bacino di San Marco, Looking North1730National 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 Day1730–1735Bowes Museum, Barnard Castle, England
Piazza San Marco, Venice 1730 –1735Fogg Museum, Cambridge, Massachusetts
Le Burchiello à Venise 1730 –1735Musée Cognacq-Jay, Paris
La Piazzetta1730–1735Galleria Nazionale d'Arte Antica, Rome
A Regatta on the Grand Canal1730–1735Bowes Museum, Barnard Castle, England
Il Canale Grande a Rialto1730–1750Museo Nacional del Prado. Spain
La Piazzetta1730–1750Galleria Nazionale d'Arte Antica, Rome
La Régate sur le Grand Canal1731–32Bowes Museum, Barnard Castle
A Regatta on the Grand Canal1732Royal Collection at Windsor Castle
View of the entrance to the Arsenal1732Private collection
Rescloses de Dolo1732–35Staatsgalerie Stuttgart, Germany
Return of the Bucentoro to the Molo on Ascension Day1733–1734Collection Buckingham Palace, England
A View of the Rialto, Venice1734–35Sir John Soane's Museum, London, England
The Piazza di San Marco, Venice 1734–35Sir John Soane's Museum, London, England
Venice: the Grand Canal from Campo San Vio towards the Bacino1734–1760Wallace Collection, London, England
Venice: the Grand Canal with Santa Maria della Salute towards the Riva degli Schiavoni1734–1762Wallace Collection, London, England
Venice: the Grand Canal from the Palazzo Foscari to the Carità1734–1762Wallace Collection, London, England
Campo San Roccocirca 1735Private collection
Piazza San Marco, Looking toward San Geminianocirca 1735Galleria nazionale d'arte antica di palazzo Corsini, Rome
The Molo, Venicec.1735Kimbell Art Museum, Fort Worth, Texas, United States
View of the Piazzetta San Marco Looking Southc.1735Indianapolis Museum of Art, Indianapolis, Indiana, United States
Venice: A Regatta on the Grand Canal1735National Gallery, London, England
The Rialto Bridge from the South1735Galleria Nazionale d'Arte Antica di Palazzo Corsini, Italy
The Feast Day of St Roch1735National Gallery
View of the Bacino di San Marco in Venice1735Städel Museum, Germany
The Quay of the Doganamid 1730sPrivate collection
View of Campo Santa Maria Formosamid 1730sPrivate collection
The Entrance to the Canal Grande at the Punta della Dogana and the Santa Maria della Salute Woburnmid 1730sPrivate collection, Woburn Abbey
Grand Canal looking East from Palazzo Bembo to Palazzo Vendramin-Calergi Woburnmid 1730sPrivate collection
Piazza di San Marco, looking towards the Church of San Geminiano Woburnmid 1730sWoburn Abbey
View of San Zaccariamid 1730sPrivate Collection
View of the Santi Giovanni e Paolo and the Equestrian Statue of Bartolomeo Colleoni1735–1738Private collection
The Brenta Canal at Padua1735–40National Gallery of Art, London, England
Entrance to the Grand Canal – from the West End of the Molo1735–40National Gallery of Art, Washington DC
Venice the Bacino di San Marco from San Giorgio Maggiore1735–1744Wallace Collection, London, England
View of the Riva degli Schiavoni 1736Sir John Soane's Museum, London, England
The Grand Canal at the Salute Churchc. 1736–38Munich Old Pinacoteca
Venezia, campo Santi Giovanni e Paoloc. 1736–40Royal Collection
St. Mark's and the Clock Tower, Venicec. 1737National Gallery of Canada, Ottawa, Canada
The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuolac. 1738The 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. 1738Holkham Hall, England
Il Canal Grande dalla chiesa di Santa Maria di Nazareth 1738Pinacoteca Giovanni e Marella Agnelli, Ialy
The Grand Canal looking North-East from the Palazzo Dolfin-Manin to the Rialto Bridge 1738–1739Private collection
The Campo Santi Giovanni e Paolo, Venice, with the West End of the Church and the Scuola di San Marco 1738–1739Private collection
The St Mark's Square, Venice 1738–1740Detroit Institute of Arts, Detroit, Michigan, United States
Bacino di San Marco 1738–1740Museum of Fine Arts, Boston, United States
The Grand Canal at the Salute Church 1738–1742Private Collection
Il Bucintoro al molo nel giorno dell'Ascensione c.1740Pinacoteca Giovanni e Marella Agnelli, Turin, Italy
View of Piazza San Marco in Venice c.1740Musée Jacquemart André, Paris, France
The Rialto Bridge in Venice c.1740Musée Jacquemart André, Paris, France
View of Mestre : alle Barche c. 1740Fondation Bemberg, Toulouse, France
View of Dolo c. 1740Fondation Bemberg, Toulouse, France
The Molo with the Library and the Entrance to the Grand Canal c. 1740Private collection
The Church of the Redentore, Venice c. 1740Manchester Art Gallery
The Piazzetta 1740sGalleria Nazionale d'Arte Antica, Rome, Italy
Arrival of the French Ambassador in Venice (detail) 1740sHermitage Museum, Russia
The Piazzetta 1740sGalleria Nazionale d'Arte Antica, Rome, Italy
View of San Giuseppe di Castello 1740sPrivate Collection
A Palladian Design for the Rialto Bridge, with Buildings at Vicenza1740sGalleria nazionale di Parma, Italy
Venice: The Campo SS. Giovanni e Paolo 1740Royal Collection, Windsor Castle, England
Bemberg Fondation Toulouse 1740Fondation Bemberg, France
Regatta on the Canale Grande 1740Royal Collection, National Gallery de London, England
Venice The Basin of San Marco on Ascension Day1740National Gallery, London, England
Venice: Santa Maria della Salute1740Metropolitan Museum of Art, New York City, United States
A Regatta on the Grand Canal1740National Gallery, London, England
Giovanni Antonio Canal, il Canaletto - Capriccio - The Grand Canal, with an Imaginary Rialto Bridge and Other Buildings - WGA03937.jpg1740Galleria nazionale di Parma
Venice. The Grand Canal with San Simeone Piccolo (1)1740The Wallace Collection, Manchester Square, England
The Grand Canal with S. Simeone Piccolo (2)1740National Gallery of London
The Reception of the French Ambassador1740Hermitage Museum, Russia
The Molo with the Library and the Entrance to the Grand Canal1740Private collection
The Porta Portello with the Brenta Canal in Padua1740–43Albertina, Vienna, Austria
The portico with a lantern1740–43Art Gallery of South Australia
Venice. The Molo with Santa Maria della Salute1740–1745Wallace Collection, London, England

Salute

Interior of St Marks1740–1745Montreal Museum of Fine Arts, Canada
Venice: the Riva degli Schiavoni 1740–1745Wallace Collection, London, England
The Piazza del Campidoglio and the Cordonata 1740–1745Private collection
View of the Grand Canal looking toward the Punta della Dogana from Campo Sant'Ivo c.1740-1745Pinacoteca di Brera, Milan, Italy
Bacino di San Marco from the Puntana della Dogana c.1740-1745Pinacoteca di Brera, Milan, Italy
View of the Grand Canal from Campo San Vio 1740–1750Ca' Rezzonico, Venice, Italy
Venice: the Grand Canal from the Palazzo Foscari to the Carità1740–1750Wallace Collection, London, England
Venice: the Grand Canal from the Palazzo Flangini to San Marcuola (1) 1740–1750Wallace Collection, London, England
The Grand Canal from the Palazzo Flangini to San Marcuola (2) 1740–1750Wallace Collection
San Marco 1740–1750Arp Museum Bahnhof Rolandseck, Germany
Venice: the Canale di Santa Chiara1740–1750Wallace Collection, London, England
Venice the Grand Canal from the Palazzo Dolfin-Manin to the Rialto Bridge 1740–1750Wallace Collection, London, England
Venice the Dogana and Santa Maria della Salute from the Molo1740–1760Wallace Collection, London, England
Prà della Valle in Padua 1741–1746Museo Poldi Pezzoli, Milan, Italy
Canaletto, The Porta Portello Padua1741–42National 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 Constantine1742Royal Collection, Windsor Castle, England
Rome: The Arch of Septimius Severus1742Royal Collection, Windsor Castle, England
Rome: The Arch of Titus1742Royal Collection, Windsor Castle, England
Rome- Ruins of the Forum, Looking towards the Capitol 1742Royal Collection, Windsor Castle, England
Rome: The Pantheon1742Royal Collection, Windsor Castle, England
The Square of Saint Mark's, Venice 1742–1744National Gallery of Art, Washington D.C., United States
Entrance to the Grand Canal from the Molo, Venice1742–1744National Gallery of Art, Washington D.C., United States
Entrance to the Grand Canal; Looking East1742–1744Windsor Castle, England
The Piazza San Marco, Venice1742–1746Art Gallery of New South Wales, Australia
The Thames at Westminster1742–54Penrhyn Castle, Gales
Rome: View of the Colosseum and the Arch of Constantine1743Royal Collection, Windsor Castle, England
The Horses of San Marco in the Piazzetta1743Royal Collection, Windsor Castle, England
Venice The Piazzetta Towards The Torre dell' Orologio1743Royal Collection Trust, United Kingtom
Venice The Molo with the Prisons and the Doges' Palace1743Royal Collection Trust, United Kingtom
An Island in the Lagoon with a Gateway and a Church1743–44Saint Louis Art Museum, United States
Entrance to the Grand Canal; Looking East1744Royal Collection at Windsor Castle
The Colleoni Monument in a Caprice Setting1744Royal Collection
View of a River, Perhaps in Padua1745Private collection
Looking North, the Campanile under Repair1745Royal Collection at Windsor Castle
The Basilica of Maxentius and the Church of Santa Francesca Romana1745Galleria Borghese, Roma
The Bucintoro1745–1750Thyssen-Bornemisza Museum, Madrid, Spain
'Old Somerset House from the River Thames'1745–1750Private collection Simon C. Dickinson Ltd.
Capriccio of the Rialto Bridge with the Lagoon Beyond 1746Private 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 1746–47Lobkowicz Palace, Prague, Czech Republic
London seen through an arch of Westminster Bridge 1746–47Syon House, London
The City of Westminster from River Thames near the York Water Gate 1746–49Private Collection (owned by Dukes of Grafton)
Ruins with Figures1747Fitzwilliam Museum, Cambridge, England
Windsor Castle1747Collection of the Duke of Northumberland
Santi Giovanni e Paolo and the Scuola di San Marco1747Gemäldegalerie Alte Meister
Westminster Bridge Westminster Bridge, with the Lord Mayor's Procession on the Thames1747Yale Center for British Art
The Thames and the City of London from Richmond House (detail) 1747Private Collection
London: River Thames looking towards Westminster from Lambeth 1747Lobkowicz Palace, Prague, Czech Republic
Whitehall and the Privy Garden from Richmond House 1747Goodwood House, UK
London 1747Private Collection
Westminster Bridge from the North on Lord Mayor's Day 1747Yale Center for British Art, University of Yale, US
Westminster Bridge Under Construction from the South-East Abutment 1747Private collection Duke of Northumberland
London, Whitehall and the Privy Garden looking North Buccleuch 1747Private Collection, the Buccleuch Living Heritage Trust
The Molo from the Basin of San Marco, Venice1747–1750San Diego Museum of Art, San Diego, California[21]
Venice, a view of the Churches of the Redentore and San Giacomo, with a moored Man-of-war, Gondolas and Barges1747–1755Private collection
The South Façade of Warwick Castle1748Thyssen-Bornemisza Museum, Madrid, Spain
The City of London from the River Thames with St. Paul's Cathedral1748
Badminton House, Gloucestershire1748Private Collection
Warwick Castle1748–49Yale Center for British Art, New Haven, United States
The Thames at Westminster, London1749Penrhyn Castle, National Trust, Gwynedd, Wales
The Old Horse Guards from St James's Park1749Tate Britain
London – the Old Horse Guards and Banqueting Hall, from St James's Park1749Private Collection
Londra, la guardia di new horse da st. james park1749
Westminster Abbey with a Procession of The Knights of the Bath1749Westminster Abbey, London
Syon House1749Private collection Duke of Northumberland
A View of the Old Horse Guards and Banqueting Hall, from St James's ParkProbably 1749Private Collection
The Prisonsprobably late 1740sPrivate collection
Venice, The Church of San Giorgio MaggioreProbably late 1740sPrivate collection
The Rialto Bridge and The Church of S. Giorgio Maggiore c. 1750North Carolina Museum of Art, Raleigh, North Carolina, United States
Capriccio with Ruins and Porta Portello, Paduac. 1750Gallerie dell'Accademia, Venice, Italy
The Thames from the Terrace of Somerset House, Looking toward Westminster 1750Yale Center for British Art, New Haven, United States
Bacino di S. Marco- From the Piazzettac. 1750National Gallery of Victoria, Australia
Capriccio of the Scuola di San Marco from the Loggia of the Palazzo Grifalconi-Loredan Early 1750sPrivate collection
Palazzo Vendramin-Calergi, on the Grand Canal, Venice 1750sPrivate collection
Veduta del Palazzo Ducale di Venezia 1750sGalleria degli Uffizi, Florence
Westminster Bridge from the North with the Lord Mayor's Procession 1750Private Collection
Cathedral San Paulo 1750
The Thames from the Terrace of Somerset House, Looking toward Westminster 1750Yale University Art Gallery, New Haven, United States
The Thames from the Terrace of Somerset House, Looking toward St. Paul's 1750Yale Center for British Art, New Haven, United States
London: The Thames from Somerset House Terrace towards Westminster 1750–51Royal Collection, Windsor Castle, England
Rome, The Piazza Navona 1750–51Tokyo Fuji Art Museum, Japan
Rome, The Piazza del Quirinale 1750–51Tokyo Fuji Art Museum, Japan
London: The Thames from Somerset House Terrace towards the City 1750–51Royal Collection, Windsor Castle, England
veduta di greenwich dal fiume 1750–51
Padua- The River Bacchiglione and the Porta Portello Day1750–1760Metropolitan Museum of Art, New York
A View of Greenwich from the River1751Blickling Hall, National Trust, Norfolk, England
The Grand Walk, Vauxhall Gardens London1751Compton Verney Art Gallery, England
Chelsea School, Rotonda, Ranelagh house and Tamesis river1751Museo Nacional de Bellas Artes, La Habana, Cuba
Chelsea from the Thames at Battersea ReachFebruary 1751Tate Britain
Alnwick Castle1752Alnwick Castle, Northumberland, England
Greenwich Hospital from the North Bank of the Thamesc.1752National Maritime Museum, Greenwich, London, England
Warwick Castle, the East Front1752Birmingham Museum and Art Gallery, Birmingham, England
Warwick Castle, the East Front from the Courtyard1752Birmingham Museum and Art Gallery, Birmingham, England
Northumberland House1752Collection of the Duke of Northumberland
veduta di greenwich dal fiume1750–1752
New Horse Guards from St James’s Park1752–53Private collection
Capriccio of a Renaissance Palazzo with a monumental Staircase, a Clock Tower and the Arch of Titus beyond1752–55Private collection Arundel Castle
London: Northumberland House1752–1763Wallace Collection, London, England
The Interior of Henry VII's Chapel in Westminster Abbey1753Museum of London, London, England
Capriccio of a Round Church with an Elaborate Gothic Portico in a Piazza, a Palladian Piazza and a Gothic Church Beyond1753–55Arundel Castle
Capriccio of a Renaisance Triumphal Arch seen from the Portico of a Palace1753–55Arundel Castle
English Landscape Capriccio with a Column1754National Gallery of Art, Washington D.C., United States
View of Banqueting House and Equestrian Statue of King Charles I1754Private Collection
Capriccio with a Domed Church and the Colleoni Monumentprobably 1754Private collection
English Landscape Capriccio with a Palace1754National Gallery of Art, Washington D.C., United States
Westminster Bridge1754Private Collection
Venice, Bacino di San Marco on Ascension Day1754Private Collection
The Interior of the Rotunda, Ranelagh, London (1)1754Compton Verney Art Gallery, England
The Interior of the Rotunda, Ranelagh (2)1754National Gallery of London
St. Paul's Cathedral1754Yale Center for British Art, New Haven, United States
A View of Walton Bridge1754Dulwich Picture Gallery, London, England
Eton College1754National Gallery, London, England
Palazzo Ducale and the Piazza di San Marcoc. 1755Galleria degli Uffizi, Florence
Old Walton Bridge1755Yale Center for British Art, New Haven, United States
San Marco – the Interior1755Windsor Castle
Piazza San Marco – Looking South-West1755–59Wadsworth Atheneum Museum of Art, Connecticut, United States
Saint Mark's, Venicec.1756Fitzwilliam Museum, Cambridge, England
Interior Court of the Doge's Palace, Venice c.1756Fitzwilliam Museum, Cambridge, England
Piazza San Marco – Looking East from the South- West Corner1756National Gallery, London, England
San Marco1756Fitzwilliam Museum, UK
Venice: Palazzo Grimani1756–58National Gallery, London, England
Piazza San Marco Looking East from the North-West Corner 1758National Gallery, London, England
Le grand canal – Looking South-East from the Campo Santa Sophia to the Rialto Bridge, Anagoria, Venice (Gemäldegalerie, Berlin) 1758–63Gemäldegalerie de Berlín and Prussian Cultural Heritage Foundation
The Campo di Rialto1758–63Gemäldegalerie der Staatlichen Museen zu Berlin
The Campo di Rialto and S. Giacomo di Rialto, Venice1760National Gallery of Canada, Ottawa, Canada
The Bucintoro at the Molo on Ascension Day1760Dulwich Picture Gallery, London, England
Porta Portello, Padua1760Thyssen-Bornemisza Museum, Madrid, Spain
The Bucintoro at the Molo on Ascension Day1760Dulwich Picture Gallery, London, England
View through a Baroque Colonnade into a Garden1760–1768Albertina, Austria
The Doge and Grand Council in Sala del Maggior Consiglio1763Statens Museum for Kunst, Dinamarca
Doge of Venice Departing for the Lido1763–67British Museum, London
Santa Maria Zobenigoc. 1765Private Collection
Scala dei Gigantic. 1765Private Collection
Perspective with a Portico 1765Gallerie dell'Accademia, Venice, Italy
Capriccio with Colonnade in the Interior of a Palace1765Thyssen-Bornemisza Museum, Madrid, Spain
The School of San Marco1765Thyssen-Bornemisza Museum, Madrid, Spain
San Marco – the Crossing and North Transept, with Musicians Singing1766Kunsthalle Hamburg, Germany
Vue de Mestre Bembergbefore 1768Fondation Bemberg, France
Vue de Dolo Bembergbefore 1768Fondation Bemberg, France
Teilansicht der Piazza San Marco in Venedig1768

See also

References

  1. Filippo Pedrocco (1995). Canaletto. Giunti Editore. ISBN 978-88-09-76198-8.
  2. 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. Constable, W.G (1962). Canaletto, Giovanni Antonio Canal 1697-1768, Volume One: Life and Work, The Plates. Oxford, Clarendon Press. p. 9. ISBN 0198173245.
  6. 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.
  7. Betsy Dru Tecco (30 July 2004). Pk:how to Draw Italy. PowerKids Press. ISBN 978-0-8239-6686-8.
  8. J.G. Links, Canaletto and his patrons, Granada Publishing/Paul Elek Ltd., London 1977, p. 1.
  9. Hannah Furness, 'Royal Collection uses infrared to prove Canaletto did not trace his drawings' in The Daily Telegraph (UK newspaper), 14 April 2017.
  10. 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.
  11. "Canaletto | The Stonemason's Yard | NG127 | National Gallery, London". www.nationalgallery.org.uk. Retrieved 22 April 2016.
  12. "Photo Gallery: Munich Nazi Art Stash Revealed". Spiegel. 17 November 2013. Retrieved 17 November 2013.
  13. "Canaletto". National Gallery of Art. Retrieved 2 March 2020.
  14. Antonio Canaletto; Antonio Visentini (1971). Views of Venice: By Canaletto. Courier Dover Publications. ISBN 978-0-486-22705-4.
  15. Williams, George G. Assisted by Marian and Geoffrey Williams. (1973) Guide to Literary London. London: Batsford, p. 208. ISBN 0713401419
  16. Michael Levey (1994). Painting in Eighteenth-century Venice. Yale University Press. pp. 114–5. ISBN 978-0-300-06057-7.
  17. John Eglin (13 January 2001). Venice Transfigured: The Myth of Venice in British Culture, 1660–1797. Palgrave Macmillan. ISBN 978-0-312-23299-3.
  18. Louise Jury, the Independent, 11 November, 2005
  19. "Bacino di San Marco, Venice". collections.mfa.org. Retrieved 2 November 2020.
  20. "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.
  21. "Canale, Antonio" . Encyclopædia Britannica. 5 (11th ed.). 1911. p. 172.
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