Canaletto the atmospheres of Venice

Giovanni Antonio Canal, better known as Canaletto, is an emblematic figure of 18th-century painting and engraving. A native of Venice, Canaletto established himself primarily as a view painter, capturing with extraordinary mastery the beauty and peculiarities of his hometown and other places that marked his artistic career.

See the work Piazza San Marco towards the Basilica

Canaletto's works are characterized by a meticulous atmospheric rendering, which gives his paintings an extraordinary sense of realism. This effect is obtained through a wise use of perspective and a visual investigation conducted with scientific rigor. Every detail in his paintings is the result of careful observation and impeccable technique, which allows him to faithfully reproduce not only the buildings and landscapes, but also the luminous atmosphere and the air that envelops the scenes.

The Ranelagh Roundabout 1754

In Venice, Canaletto received numerous important commissions, which allowed him to establish himself as one of the main interpreters of the urban reality of the Serenissima. His works celebrate the grandeur of the Republic of Venice, immortalizing views of its canals, palaces and squares with an almost photographic precision. His canvases are precious testimonies of an era in which the lagoon city was at the height of its splendor.

In 1746, Canaletto moved to England, where his fame preceded him. In Britain, the painter found a new clientele among the local aristocracy, who appreciated his style and his ability to immortalize city views and landscapes with unparalleled realism. During his stay in England, Canaletto continued to produce works of great quality, which earned him a place of honor among the most sought-after artists of his time.

Canaletto's career took a decisive turn when he met Joseph Smith. This wealthy art collector, who would later become British Consul in Venice from 1744 to 1760, played a key role in connecting Canaletto to English collectors. Smith began as a client of the painter, purchasing some of his most famous works. These included the "Regatta on the Grand Canal" and the "Interior of St. Mark's at Night," one of the artist's rare nocturnal paintings. These works, created in the early 1730s, are now part of the collections of the British royal family.

Stonemason's Courtyard 1727

Over time, Smith not only continued to commission works, but also became a real patron and intermediary for Canaletto. His mediation was crucial in facilitating the painter's relationships with wealthy English clients, especially considering that Canaletto, according to contemporary sources, was not known for his affability. Smith's activity reached its peak in the second half of the 1530s, when prominent English nobles, such as the Earl of Fitzwilliam, the Duke of Bedford, the Duke of Leeds and the Earl of Carlisle, began to request the Venetian painter's paintings.

During this period, Canaletto produced works of great importance. Among these, "The Doge at the Feast of San Rocco", another celebratory painting, now in the National Gallery in London, and a view of Piazza San Marco, currently in Cambridge in the United States. The latter is particularly interesting because it allows a direct comparison with another view that belonged to the royal family of Liechtenstein, thus revealing the progress made by the painter in about a decade.

Among the other works commissioned by English collectors, the "Riva degli Schiavoni towards the East", made around 1738-40 and now in the museums of the Castello Sforzesco in Milan, a view of Piazza San Marco towards the south-east, preserved in Washington, and a view of the north-east corner of the main square of Venice, which is in Ottawa, stand out. These works not only testify to Canaletto's talent and mastery, but also to the close relationship between the artist and the English art market, made possible by the mediation of Joseph Smith.

The return to Venice

After returning to Venice, in the last years of his career, Canaletto expanded his artistic horizons by dedicating himself to the genre of "capriccio". This new phase of his production was characterized by greater creative freedom, which allowed him to combine real and imaginary elements to create suggestive and dreamlike scenes. In his capricci, fantasy mixes with reality, offering visions of cities and landscapes that exist only in the painter's mind.

Canaletto remains a key figure in 18th-century art, a master capable of immortalizing the beauty of the world around him with scientific precision and great artistic sensitivity. His works continue to be admired and studied, offering a precious glimpse into an era and a city that have profoundly affected the history of art.

Canaletto's painting technique

Using the Darkroom

One of the distinctive features of Canaletto's technique is the use of the camera obscura. This instrument projected the image of a scene onto a surface, allowing the artist to trace the details and proportions with precision. The camera obscura contributed to his ability to capture reality with great fidelity, as seen in the architectural details and accurate proportions of the buildings.

Perspective and Composition

Canaletto was a master of perspective. In his paintings, the arrangement of perspective lines leads the viewer's eye toward a central vanishing point, creating a sense of depth and realism. This is evident in works such as "Perspective with Portico" where perspective is used to emphasize the architectural structure and the arrangement of scenic elements.

Use of Color and Light

Canaletto's use of color and light is fundamental to conveying the atmosphere and liveliness of urban scenes. He exploited the contrast between light and shadow to give relief to buildings and to emphasize atmospheric conditions. For example, in his paintings of the Piazza San Marco, Canaletto manages to capture natural lighting in order to highlight the grandeur and vitality of the square.

Paintings "from life"

Unlike many of his contemporaries, Canaletto often painted "from life," that is, directly from observation of the scene, rather than from preliminary sketches. This approach contributed to the authenticity and accuracy of his views, maintaining a freshness and immediacy that would otherwise have been difficult to achieve .

Whims and Views

In addition to real views, Canaletto was also known for his "capricci", which are imaginative compositions that combine real architectural elements with imaginary ones. An example of this genre is the "Capriccio with Palladian Buildings", where he mixes real buildings but placed in different contexts.

Criticism on Canaletto

Canaletto's critical fortune has undergone significant changes over the centuries, oscillating between enthusiastic praise and severe criticism. His art, characterized by detailed and luminous views of Venice, has attracted variable judgments depending on the era and critical perspectives.

In the 18th century, Canaletto was widely celebrated. Anton Maria Zanetti in 1733 praised him as a "pittor di vedute" endowed with intelligence, taste and an unparalleled fidelity to truth. A few years later, in 1739, Charles de Brosses confirmed this admiration, describing his views of Venice as superior to all others for their luminosity and minute precision. Luigi Lanzi, writing in 1831, recognized Canaletto's ability to find a balance between nature and art, appreciating his artistic freedom.

However, the 19th century saw a clear decline in Canaletto's consideration. John Ruskin, in 1843, severely criticized him, accusing him of mannerism and lack of originality. Even Niccolò Tommaseo, in 1857, while recognizing his value, underlined the limits of his vedutist style, reducing him to a "portion of an artist".

The Bucintoro at the dock on Ascension Day 1740

The 20th century brought a reevaluation of the artist. Gino Damerini, in 1912, recognized the superiority of Francesco Guardi, but began to outline a new appreciation for Canaletto. Gino Fogolari, in 1932, appreciated the meaning and perspective of the views of the Venetian painter. Roberto Longhi, in 1946, called him "the great Antonio Canal", underlining his importance in the artistic panorama. Pietro Zampetti, in 1967, described him as the first true vedutista, capable of capturing reality in a frank and sincere way.

Modern critics have continued to explore and reevaluate Canaletto's work. André Corboz, in 1974, criticized the positivist vision that reduced Canaletto to a mere "painter-photographer", suggesting a deeper reading of his art. Alessandro Bettagno emphasized the perspectival rigor and personal poetry present in his paintings. Gérard Genette, finally, identified two levels in Canaletto's art: the first linked to the admiration for fascinating landscapes and the second to the transfiguration of the banal, that is, the artistic treatment of less considered objects.

Canaletto's ability to capture Venetian reality with precision and poetry continues to be an object of study and admiration, confirming his importance in the panorama of European art.

Canaletto's major works

- The Bucintoro at the Molo on Ascension Day (1729)
- Giovanni and Marella Agnelli Art Gallery, Turin, Italy

- Piazza San Marco towards the Basilica (around 1723)
- Thyssen-Bornemisza Museum, Madrid, Spain

- Grand Canal from Campo San Vio near the Rialto Bridge (1723)
- Ca' Rezzonico, Museum of 18th Century Venice, Venice, Italy

- The entrance to the Grand Canal with the Dogana and the Church of Salute (around 1730)
- Museum of Fine Arts, Houston, Texas, USA

- Santa Maria Aracoeli and the Campidoglio (around 1720)
- Museum of Fine Arts, Budapest, Hungary

- Riva degli Schiavoni towards the east (around 1738-40)
- Sforza Castle, Milan, Italy

- The Molo and Riva degli Schiavoni from the San Marco Basin
- Toledo Museum of Art, Ohio, USA

- The San Marco Basin with the Customs House from the Punta della Giudecca
- National Museum of Wales, Cardiff, United Kingdom

- View of the Thames with St. Paul's Cathedral on Lord Mayor's Day (1746)
- Lobkowicz Collection, Prague, Czech Republic

- Capriccio with Palladian buildings
- National Gallery of Parma, Italy

- The Grand Canal towards the east
- National Gallery, London, UK

- San Giacometto Field
- Gemäldegalerie, Dresden, Germany

- The Piazzetta towards the Clock Tower
- Windsor Castle, Royal Collections, United Kingdom

- The Punta della Dogana
- Kunsthistorisches Museum, Vienna, Austria

This list is not exhaustive, but includes some of Canaletto's most significant works and their current locations.