Canaletto and the Art of Venice
6, The Regatta on The Grand Canal.
Venice’s Historical Regatta takes place on the first Sunday of September; it is a
competition between Venetian boats watched by thousands of people from the banks or from
floating stands.
Completed in 1732, Canaletto’s portrayal of the regatta is a lively and ornate interpretation.
Some of the figures in the foreground wear the ‘bauta’, a costume featuring a white
mask and black cape, typically worn during the carnival.
The scene also illustrates the one-oared light gondola race, as four competitors race each
other in the open canal water, while spectators crowd the bordering balconies and pavements,
fixed upon the outcome.
The gondola race had been first established in the fourteenth century and was also occasionally
held to honour notable visitors to the city.
On the floating pavilion on the left we can see the arms of the Carlo Ruzzini, who ruled
as Doge from 1732-1735; it is from this platform that the coloured flags were presented to
the winners.
A striking feature of the canvas is the brightly decorated eight-oared barges and garish costumes
worn by many of the figures at the Carnival, providing the artist the opportunity to use
a much broader range of hues than were normally possible.
7, Grand Canal: from Santa Maria Della Carità to the Bacino Di San Marco
St. Mark’s Basin (Bacino di San Marco) is the water space of the Venetian lagoon in
front of St. Mark’s Square, between the canals of the Lido, Giudecca and the Grand
Canal.
Completed in the early 1730’s, this attractive image presents a comprehensive view of St.
Mark’s Basin, where in the central distance we can glimpse the dome of the Santa Maria
della Salute, with a number of wooden masts moored in the Basin.
To the right we can see the church of Santa Maria della Carità, which would be later
converted into the city’s art gallery, Accademia delle Belle Arti.
The canvas is notable for Canaletto’s maturing use of colour, as he effectively contrasts
the vivid blue sky with the green water and the red and orange tones of the surrounding
brickwork.
His expert use of shadow is also impressive, as the slanting line of grey cuts across the
building of the Scuola, producing a realistic impression of the sun’s changing light effects.
This painting was at one time owned by Joseph Smith (c. 1682-1770), the British consul at
Venice from 1744–1760, who was a patron of artists, most notably Canaletto.
An art collector and connoisseur, Smith was also banker to the British community at Venice
and a major draw on the British Grand Tour.
As the agent for Canaletto for several years, c. 1729–35, he practically controlled the
artist’s output, to the benefit of both.
Smith arranged for Visentini to engrave thirty-eight of Canaletto’s views in 1730, leading to
the rapid increase of interest in the artist throughout Britain.
Smith also encouraged Canaletto to make what would be regarded as a very successful trip
to London in 1746.
In 1762 Smith sold the vast majority of his books, gems, coins, prints, drawings and paintings
— including many works by Canaletto — to the young George III for £20,000.
The books today form the nucleus of the King’s Library at the British Museum, while the Royal
Collection features many of his other treasures.
8, Dolo on The Brenta.
Twelve miles to the west of Venice lies Dolo, a village on the river Brenta, which flows
from Padua into the Lagoon at Mestre.
Brenta, with its many country houses, was a favourite destination for excursions by
boat and Canaletto immortalised the river in numerous drawings, etchings and paintings.
This is one of the earliest and most beautiful of Canaletto’s paintings on this theme.
The canvas depicts a mill on the Brenta, near Dolo, where we can see a view towards the
east from a tall house located on the dam in the river.
The sun shines from the west, as indicated by the shadow — falling to the right in
the foreground — of the house where the artist sat.
On the left of the quay, lined with prominent houses, the inn and the campanile of San Rocco,
we can see the land stretch in a wide curve.
On the other side of the Brenta, free-standing buildings and a covered wharf feature in the
scene.
In the background a ‘burchiello’ boat, with a striped cover, glides along the bend
at the right, and a third boat with a red roof disappears around the corner.
The mill complex takes up the foreground of the canvas, as two unused millstones lie against
the wall in the shadow.
It is late afternoon and the villagers seem to have finished their work for the day.
One worker rests on a sack of flour, while another starts fishing; several figures have
chosen to converse leisurely with each other.
A lady dressed in red is greeted by a couple, whose servant protects them from the sun with
a parasol.
This group in particular attracts our attention, due to the bright, costly allure of their
garments.
They are apparently prosperous townsfolk out for a visit in the country.
There is a sharp contrast between the finery of this group and the dull rags worn by the
resting workers.
9, Rome: Arch of Constantine.
In 1742 Canaletto was commissioned by Smith to produce a series of five paintings of Roman
subjects.
It is uncertain whether they were based on a recent visit to the city or sketches the
artist had made while visiting Rome in 1720.
It is possible that he was inspired by prints of Roman buildings and ruins in Smith’s
extensive collection.
Rome: Arch of Constantine, now held in Windsor’s Royal Collection, presents a view of the arch
built by the Emperor Constantine in the fourth century to commemorate his victory over Maxentius
at the Battle of Milvian Bridge in 312.
Dedicated in 315, it is the largest Roman triumphal arch.
The view is altered from its actual appearance, as the friezes and inscriptions are on the
north side, though they are painted as seen from the south.
We can also see the church of San Pietro in Vincoli and to the right the ruins of the
Colosseum tower above.
A group of figures in the foreground, most likely Grand Tourists that have come to admire
the ancient glories of the city, communicate with wide smiles, while one of the figures
points with his stick in the direction of the Colosseum, emphasising the information
he is giving to the others.
A seated figure on the left, who has beside him a portfolio and ruler, may well be intended
as a self portrait.
Canaletto’s name is inscribed on the stone beside this figure, confirming his authorship
and the date of the painting, in a grand manner emulating the carvings on the ancient monument.
10, London: Westminster Bridge from The North on Lord Mayor’s Day.
Canaletto’s art market in the 1740’s was disrupted when the War of the Austrian Succession
led to a reduction in the number of British visitors to Venice.
His patron Smith arranged for the publication of a series of etchings, but the returns were
not high enough and in 1746 Canaletto decided to move to London to be closer to the demand
for his work.
He remained in England until 1755, producing numerous views of London and his various patrons’
castles and houses.
The artist was often expected to paint England in the fashion with which he had painted his
native city, in spite of the difference between the northern country’s sky and light.
Some critics argue that Canaletto’s painting began to suffer from repetitiveness, losing
its fluidity and becoming mechanical.
This criticism went so far that the English art critic George Vertue suggested that the
man painting under the name ‘Canaletto’ was in fact an impostor.
Canaletto was compelled to give public painting demonstrations in order to refute the claim,
though his reputation was seriously damaged by the attack.
His earliest paintings of London concern the new Westminster Bridge, which he portrayed
from various viewpoints.
The bridge was not actually completed until four years after the following canvas was
painted.
In order to portray the whole panorama, Canaletto adopts an imaginary vantage point high above
the River Thames.
The painting provides a detailed view of the bridge’s entire span amidst the setting
of Venetian-esque festivities, celebrating the appointment of the new Lord Mayor of London,
though these revels appear less flamboyant than in the spectacles he painted in Italy.
A large City Barge is transporting the mayor to Westminster Hall, beside the Abbey to the
right, where he will be officially sworn in.
To the left of the horizon, we can see the prominent St. John’s Church, Smith Square,
whilst on the opposite side of the river Canaletto’s depicts Lambeth Palace, the London residence
of the Archbishop of Canterbury.
Many of the spectacular barges are firing salutes to honour the new mayor.
11, London: Whitehall and the Privy Garden from Richmond House.
This plate, along with its companion painting The Thames and the City of London from Richmond
House, are among the most widely admired canvases completed by Canaletto during his stay in
England.
Commissioned by the Duke of Richmond, they were most likely based on sketches made by
the artist from the upper windows of the Duke’s London home, Richmond House.
Canaletto depicts the Duke with a servant in the courtyard in the lower right.
The painting illustrates a view of the Privy Garden of the Palace of Whitehall, which was
a large enclosed space in Westminster, originally designed as a pleasure garden for the late
Tudor and Stuart monarchs.
The Privy Garden was created under Henry VIII and was expanded and improved under his successors,
though it lost its royal patronage after the Palace of Whitehall was almost totally destroyed
by fire in 1698.
Canaletto’s rendering of the garden is observed with crisp detail, creating a vivid record
of London during the reign of George II.
The artist later reinterpreted the scene from a lower viewpoint with an even wider panorama,
including a view of the Thames to the left.