Italy: January 2025

Sunday, January 5, 2025

Artists Who Painted VENICE

Piazza San Marco

Canaletto

VENICE

GIOVANNI CANALETTO

VENICE

Giovanni Canaletto

CANALETTO

Canaletto, celebrated for his views of Venice (vedute), depicts the city’s principal square of San Marco, which was described by Napoleon as “the finest drawing room in Europe.” The Basilica of Saint Mark, with its Byzantine architecture, and the imposing bell tower dominate the scene as symbols of the rich history of the Venetian Republic. Canaletto adjusts for the trapezoidal shape of the piazza by reinforcing the perspective created by the ornamental marble pattern of stone pavement that had recently been laid. This painting represents a timeless view of Venice while also capturing a slice of eighteenth-century daily life.

Among Canaletto’s most important patrons were English aristocrats who visited the city on the Grand Tour, often bringing home as souvenirs contemporary depictions of the cities they visited. This painting was bought by the fourth Duke of Leeds after he visited Venice in 1734. When the duke returned to England, he had the painting placed within this type of Scotch pine frame that he favored for works in his collection.

The MOLO

Canaletto

SANTA MARIA della SALUTA

VENICE

Canaletto - Brown Ink & Wash Drawing 1760

GENTILE BELLINI

"PIAZZA San MARCO"

PONTE San LORENZO

Gentile Bellini

"IL RIDOTTO"

Pietro Longhi

The MEETING

Pietro Longhi

VENICE

The RHINOCEROS

Pietro Longhi

VENICE, ITALY

TURNER

The Piazzetta

VENICE

TURNER

The PIAZZETTA

A crack of lightning streaks the sky above the Piazzetta, the historic heart of government in Venice, and bystanders run for cover. The city of canals captured Turner’s imagination more than any other place. This watercolour dates from his third and final visit in August 1840. Beyond the statue of the winged lion of Saint Mark, the Doge’s Palace glows amber in the uncanny light. A section of St Mark’s Basilica shines ghostly white. Turner created the white highlights by scratching the paper surface. He is said to have used ‘his eagle-claw of a thumb-nail’ for this purpose.

"The BRUDGE of SIGHS"

VENICE

Turner

CANALE GRANDE

VENICE

Turner

GOING to The AMALFI COAST ?

POSITANO The AMALFI COAST

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View of The PONTE RIALTO

MICHELE MARIESCHI

ENTRANCE to The GRAND CANAL

PAUL SIGNAC

1905

The Grand Canal and the church of the Salute are many artists’ favorite views of Venice. Here, we see the church and the Punta della Dogana, now a Сontemporary Art Museum but, at that time, the customs building, from across the laguna. In the foreground, the gondolas float gently on the water.

Paul Signac was one of the front runners of pointillism, a neo-impressionism style inspired by the theories of French chemist, Michel Eugène Chevreul. According to the theory, dots of different colors placed side by side, when viewed from a distance, mix in the eye to create a new color.

MONET

A STREET in VENICE

John Singer Sargent

John Singer Sargent, possibly the greatest portraitist of the 19th century, spent most of his life in Europe. He traveled to Venice, as many artists did at the time, but instead of painting the timeless monuments of the city, he was more interested in the city that looms behind the Grand Canal and the flocks of tourists.

A Street in Venice focuses on the everyday people that inhabit the city. A young woman walks the streets clutching her shawl. On the right, we see two men observing her in the shadows as she walks by. The woman looks uncomfortable, perhaps she has noticed them, or maybe they made their presence known by whistling or catcalling at her. We can’t be sure, as their faces hide in the shadows.

NOCTURNE - BLUE & GOLD

WHISTLER

In Nocturne: Blue and Gold, Whistler masterfully balances light and shadow. The composition draws the viewer's eye across the canvas, from the illuminated St. Mark's Basilica to the darkened waters of the lagoon. This interplay creates a sense of depth and movement, inviting viewers to explore the scene. The careful arrangement of elements reflects Whistler's keen understanding of spatial dynamics.

St. Mark's Basilica, a stunning example of Byzantine architecture, serves as the focal point of the painting. Its intricate mosaics and majestic domes are emblematic of Venice's rich cultural heritage. Whistler's choice to depict this iconic landmark highlights the city's historical significance and its allure as a center of art and commerce.

WHISTLER

"Storm - Sunset"

Whistler

Venetian Scene

Pastel on Brown Paper

WHISTLER

1879 - 1880

In the fall of 1879, like many artists before him, James McNeill Whistler arrived in Venice to capture his artistic view of the city. Ostensibly on a 3-month project, Whistler was immediately seduced by the possibilities the city presented and wound up spending 14 months there, eventually producing some 50 etchings and nearly 100 pastels. There can be no doubt that La Serenissima was Whistler’s ultimate muse: she called forth an original and exciting body of work that pushed the artist farther along the stylistic path staked out by his earlier Nocturnes, redeemed his artistic reputation and, it might be argued, spared him from future obscurity. Although the etchings are perhaps the better known pieces, his pastel from this period are true gems and have been no less influential in securing the artist’s legacy.