Vista Alegre Crystal Única Large Vase Caneleto Blue

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Bernardo Bellotto, also known as "Canaletto" in Germany and Poland, was Canaletto's nephew and pupil [24]

This once in a lifetime exhibition will enable art lovers to enjoy and study up-close twenty-three beautiful paintings, in a fascinating exhibition that also explores Canaletto’s life and work, alongside themes of 18 th-century Venice and the Grand Tour. Old Master & British Paintings: Evening Sale. Sotheby's, London. December 3, 2014, pp. 50, 52, fig. 2 (color), under no. 11. 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. [11] Venice: Canaletto and His Rivals is organized by the National Gallery of Art, Washington, the sole U.S. venue for the show, and the National Gallery, London, where it is on view through January 16, 2011. We are honoured that this wonderful, unrivalled set of Canaletto paintings will come to the Holburne, the perfect setting for visitors to study the paintings closely in way that has never been possible before. It is very exciting to think that they are leaving the dining room in Woburn Abbey for the first time in more than 70 years.”The Piazza San Marco looking towards the Basilica San Marco and the Campanile by Canaletto. From the Woburn Abbey Collection Gondolas glide across the water, passing fishing boats which direct our gaze towards the mouth of the Cannaregio Canal, Venice’s largest waterway after the Grand Canal. The Ponte delle Guglie (‘bridge of the obelisks’), constructed in 1580 with an elegant balustrade and a pair of obelisks at each end, spans the water. Completed early in his career, and while still in Rome, this work is an example of the veduta ideata style in which real and imaginary combinations are used to heighten the picture's sense of drama. Canaletto had used real architectural structures as the template for his painting, but, in a gesture of artistic licence, he combined the Roman architectural elements of his immediate surroundings with those belonging to his native Venice. Once more, the theatrical element of the painting reflects Canaletto's early training, yet the vivid attention to fine detail in which he renders the landscape sets the bar for the rest of his career. Indeed, in her analysis of the painting, Kowalczyk suggested that Canaletto had established "a discourse on classical and Renaissance Venetian architecture that would guide his future creations." Kowalczyk also speculated that the figure seated under the arch in the left foreground is a depiction of Canaletto himself, here engaged "in the act of measuring the buildings with a pencil." Whether or not the figure was autobiographical, the idea that the artist could be charged with the responsibility of capturing a memory of the city was an obligation that Canaletto took to heart and established his position within the pantheon of Italian masters. We can just make out the tiny silhouettes of people crossing over the bridge, while others emerge into the sunlight along the waterfront. Beyond this is an area known as the ghetto, built up high because of the shortage of land. This is where, from the sixteenth century, the Jewish population was forced by decree to live. Everett Fahy in The Wrightsman Pictures. Ed. Everett Fahy. New York, 2005, pp. 59–61, no. 15, ill. (color), dates it to the late 1720s; lists fifteen additional versions of the composition.

Andrea Kirsh and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. New Haven, 2000, p. 262.J. G. Links. "A Missing Canaletto Found." Burlington Magazine 109 (July 1967), p. 406, fig. 33 (detail).