Giovanni canaletto biography
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Canaletto's paintings of Venice were in high demand amongst upper class tourists who, usually while embarked on the so-called "Grand Tour" of Europe, sought romanticized mementos of their time in the Italian city. Soon surpassing his master's modest talents, Canaletto produced his first known signed work, an Architectural Capriccio dated 1723.
In his book "Canaletto at Warwick", David Buttery describes how the Earl of Warwick, Lord Brooke, had undertaken a project to improve Warwick Castle and "the newly landscaped grounds designed by 'Capability' Brown". In the background we see recognizable Venetian structures including the San Marco Bell Tower but the focal point of the painting is a group of three well-dressed men, two seated against a column with a dog at their feet, and a third standing nearby wearing a long green cloak.
Indeed, according to the gallery label for this painting (held at The Nelson-Atkins Museum of Art) "Canaletto has compressed the actual view in depth, because in reality the façade of Saint Mark's is located further back, nearer to the Clock Tower." This creative decision, coupled, for instance, with the red sheet draped over the balcony of an adjacent building, bring his painting an added allure and narrative subtlety.
Oil on canvas - Collection of The Nelson-Atkins Museum of Art, Kansas City, Missouri
1751
Chelsea from the Thames at Battersea Reach, London
In this waterscape, the Thames River dominates the canvas.
It proved to be a turning point in Canaletto's life since it was on this excursion that he took the decision to abandon theatrical design altogether.
According to early critic and associate of the artist, Antonio Maria Zanetti, Canaletto had grown tired of the theater and "bored with the indiscretion of the dramatic poets." He transferred his immediate artistic attentions onto the ancient Roman monuments and modern buildings that surrounded him.
In response, Joseph Smith facilitated the publication of etchings of Canaletto’s “capricci” (architectural fantasies).
However, the financial returns were insufficient, prompting Canaletto to relocate to London in 1746 to remain close to his primary market.
While in England, he resided at 41 Beak Street in Soho and produced numerous views of London, including several of the newly constructed Westminster Bridge.
He also painted portraits of his patrons’ estates, such as Northumberland House and Warwick Castle.
The subject of the Grand Canal was a favorite for Canaletto who took up the theme shortly after his return from Rome in 1720.
Characteristic of his style, the view served almost as a facsimile of modern Venice.
This painting is an early example of the subject matter Canaletto turned towards after deciding to give up on theatrical sceneries, though one can see those influences here in this impressive topography.
It's unlikely someone else would include that, so it acts as a kind of surrogate signature."
Bernardo Canal was a well-respected theatrical scene painter and, as expected, Canaletto and his elder brother, Christoforo, joined their father as his apprentices. As Gash was able to explain, "Occasionally, Canaletto did sign his works but not in this example.
The first of these was the Irishman Owen McSwiny who had settled in Venice and who arranged Canaletto's first overseas commission for the collection of Charles Lennox the Second Duke of Richmond in 1721.
1730
The Clock Tower in the Piazza San Marco, Venice
As a detailed realization of early 18th century Venice, Canaletto's painting features the famous clock tower in the city's Piazza San Marco. He was very influential, famed for his precisely depicted and evocative views of the city (vedute).
According to Kowalczyk, moreover, the demand for works by Canaletto overseas was due in part to "the rational taste of British and Irish collectors making their Grand Tour - young aristocrats on an educational journey through Europe - [which] led them to search for works featuring clear, scientific prospective developments." Canaletto had by now all but perfected this skill by using a camera obscura to prepare his paintings and etchings.
His ability to blend realistic elements with imaginative components created a unique aesthetic that set his works apart. It reads thus:
As of 28 July 1748 LondonReceived I Giovanni Antonio Canal from the doer [agent] of the most excellent My Lord Brooke, ten guineas, and this for the price of a small painting by me painted, with the view of the castle of the said My Lord.
Speaking of the Warwick sketches, meanwhile, Kowalczyk noted, "during the years in England, drawing rose to a new role" and more finely-honed drawings "properly finished with wash, began to appear." Indeed, Canaletto's reputation as a supreme draughtsman was enhanced by these pieces which were in very high demand amongst collectors.
In this painting, Canaletto provides only an intimate glimpse of the Piazza San Marco by focusing on one side of the square where aspects of a row of buildings dominate the left side of the canvas. However, these efforts were insufficient to fully restore his acclaim, and his reputation suffered during his time in England.
In 1755, Canaletto returned to Venice, resuming his esteemed position within the local art community.