A Trip to Venice

It is​ ​no​ ​question​ ​why​ ​Venice,​ ​Italy​ ​is​ ​the​ ​perfect​ ​place​ ​to​ ​inspire​ ​artists​ ​and​ ​poets.​ ​The place​ ​is​ ​flowing​ ​with​ ​beautiful​ ​architecture​ ​and​ ​is​ ​a​ ​glorious​ ​place​ ​to​ ​be.​ ​So​ ​it​ ​isn't​ ​hard​ ​to​ ​see why​ ​Canaletto​ ​was​ ​attracted​ ​to​ ​it​ ​so​ ​much.​ ​Yet​ ​it​ ​wasn't​ ​just​ ​Canaletto,​ ​Venice​ ​was​ ​a​ ​popular focal​ ​point​ ​for​ ​many​ ​artists​ ​at​ ​this​ ​time​ ​and​ ​each​ ​one​ ​is​ ​passionate​ ​about​ ​the​ ​magic​ ​that​ ​this beautiful​ ​city​ ​holds.​ ​This​ ​is​ ​shown​ ​throughout​ ​the​ ​Venice​ ​paintings​ ​during​ ​this​ ​time.​ ​​ ​Being​ ​born in​ ​Venice​ ​in​ ​1697​ ​and​ ​died​ ​in​ ​1768,​ ​Canaletto​ ​used​ ​his​ ​hometown​ ​for​ ​inspiration.Canaletto​ ​also had​ ​many​ ​fellow​ ​artists​ ​around​ ​him​ ​at​ ​this​ ​time​ ​period.​ ​Such​ ​as​ ​Giovanni​ ​Bellini,​ ​Joseph​ ​Heintz, then​ ​Gaspare​ ​Vanvitelli,​ ​Luca​ ​Carlevaris,​ ​John​ ​Richter.​ ​His​ ​followers​ ​were:​ ​Giovanni​ ​Battista Cimaroli,​ ​Antonio​ ​Joli,​ ​Michele​ ​Marieschi,​ ​Francesco​ ​Tironi,​ ​and​ ​his​ ​nephew​ ​Bernardo​ ​Bellotto, who​ ​was​ ​considered​ ​to​ ​be​ ​his​ ​equal​ ​and​ ​he​ ​was​ ​known​ ​to​ ​be​ ​his​ ​biggest​ ​rival.​ ​Canaletto​ ​was​ ​an inspiration​ ​to​ ​many​ ​who​ ​painted​ ​in​ ​Venice.​ ​Before​ ​the​ ​eighteenth​ ​century​ ​Venice​ ​was​ ​a​ ​safe​ ​city, with​ ​its​ ​shallow​ ​lagoons​ ​surrounding​ ​the​ ​city​ ​protected​ ​it​ ​by​ ​warships.​ ​According​ ​to​ ​the metmuseum.org:​ ​“That​ ​is​ ​until​ ​in​ ​the​ ​eighteenth​ ​century​ ​when​ ​Napoleonic​ ​forces​ ​invaded​ ​in 1797,​ ​the​ ​once​ ​proud,​ ​independent​ ​venetian​ ​city-state​ ​collapsed​ ​and​ ​the​ ​city​ ​never​ ​recovered​ ​its former​ ​eminence”.​ ​Through​ ​all​ ​of​ ​this​ ​hardship​ ​Venice​ ​remained​ ​a​ ​tourist​ ​spot.​ ​In​ ​the​ ​eighteenth century​ ​artists​ ​like​ ​Canaletto​ ​​ ​were​ ​more​ ​popular​ ​than​ ​ever.​ ​Venice​ ​was​ ​raging​ ​for​ ​art,​ ​poetry, music,​ ​theater,​ ​and​ ​gambling.​ ​This​ ​time​ ​period​ ​is​ ​the​ ​Enlightenment.​ ​New​ ​revelations​ ​are​ ​taking shape,​ ​and​ ​the​ ​art​ ​is​ ​showing​ ​it.​ ​The​ ​pieces​ ​are​ ​very​ ​precise​ ​and​ ​elaborate.​ ​The​ ​pieces specifically​ ​are​ ​influenced​ ​by​ ​Canaletto.​ ​In​ ​the​ ​book​ ​​Venice​ ​:Canaletto​ ​and​ ​His​ ​Rivals​ ​​by Charles​ ​Beddington​ ​he​ ​compares​ ​the​ ​Venice​ ​paintings​ ​from​ ​the​ ​more​ ​famous​ ​artists​ ​of​ ​the eighteenth​ ​century​ ​and​ ​they​ ​are​ ​very​ ​similar​ ​to​ ​one​ ​another.​ ​This​ ​is​ ​because​ ​Venice​ ​was​ ​such​ ​a high​ ​demand​ ​for​ ​art,​ ​so​ ​many​ ​artists​ ​were​ ​competing​ ​for​ ​the​ ​landscape​ ​paintings​ ​from​ ​the​ ​city. Like​ ​we​ ​have​ ​talked​ ​about​ ​in​ ​class​ ​with​ ​some​ ​artists,​ ​they​ ​were​ ​trying​ ​to​ ​one​ ​up​ ​each​ ​other​ ​on​ ​the same​ ​content.​ ​The​ ​clients​ ​were​ ​intrigued​ ​by​ ​all​ ​the​ ​different​ ​interpretations​ ​of​ ​Venice.​ ​Yet​ ​while all​ ​of​ ​this​ ​competition​ ​is​ ​happening​ ​they​ ​are​ ​also​ ​inspiring​ ​one​ ​another.​ ​Especially​ ​because​ ​the centuries​ ​before​ ​the​ ​majority​ ​of​ ​the​ ​paintings​ ​were​ ​portraits.​ ​So​ ​the​ ​landscape​ ​painting​ ​idea​ ​was exciting​ ​to​ ​these​ ​painters,​ ​and​ ​especially​ ​in​ ​Venice​ ​with​ ​all​ ​the​ ​important​ ​architecture.​ ​So​ ​why Venice?​ ​Through​ ​these​ ​painting​ ​you​ ​will​ ​not​ ​only​ ​find​ ​out​ ​why,​ ​but​ ​you​ ​will​ ​want​ ​to​ ​go​ ​live there​ ​as​ ​well.

​Canaletto​ ​(Giovanni​ ​Antonio​ ​Canal)​, Venice:​ ​Santa​ ​Maria​ ​della​ ​Salute​,​ ​(Italian, Venice​ ​1697–1768​ ​Venice),​ ​oil​ ​on​ ​canvas,​ ​18​ ​3/4​ ​x​ ​31​ ​1/4​ ​in.​ ​(47.6​ ​x​ ​79.4​ ​cm),​ ​59.38

The​ ​piece​ ​​Venice:​ ​Santa​ ​Maria​ ​della​ ​Salute​ ​​by​ ​Canaletto​ ​is​ ​a​ ​delightful​ ​piece​ ​of​ ​art.The date​ ​was​ ​around​ ​1768,​ ​and​ ​is​ ​an​ ​oil​ ​on​ ​canvas​ ​painting,​ ​and​ ​was​ ​18​ ​3/4​ ​x​ ​31​ ​1/4​ ​in.​ ​(47.6​ ​x​ ​79.4 cm).​ ​I​ ​was​ ​automatically​ ​drawn​ ​to​ ​the​ ​brightness,​ ​and​ ​liveliness​ ​it​ ​portrays.The​ ​painting​ ​is​ ​a scene​ ​from​ ​a​ ​crisp,​ ​clear​ ​morning​ ​in​ ​Venice,​ ​Italy.​ ​To​ ​the​ ​right​ ​of​ ​the​ ​painting​ ​is​ ​an​ ​elaborate domed​ ​building​ ​which​ ​takes​ ​up​ ​the​ ​right​ ​side,​ ​and​ ​uses​ ​warm​ ​gold​ ​and​ ​cream​ ​colors.​ ​To​ ​the​ ​left of​ ​the​ ​building​ ​is​ ​a​ ​body​ ​of​ ​water​ ​with​ ​clusters​ ​of​ ​boats​ ​occupying​ ​it.​ ​Behind​ ​this​ ​scene​ ​is​ ​a​ ​line of​ ​building​ ​smaller​ ​buildings​ ​taking​ ​up​ ​the​ ​horizon.​ ​These​ ​smaller​ ​buildings​ ​really​ ​makes​ ​the viewer​ ​have​ ​a​ ​sense​ ​of​ ​depth​ ​in​ ​the​ ​painting.​ ​With​ ​the​ ​large​ ​building,​ ​the​ ​smaller​ ​people​ ​and​ ​the tiny​ ​building​ ​receding​ ​in​ ​the​ ​background​ ​balances the​ ​scene​ ​as​ ​a​ ​whole​ ​very​ ​well.​ ​​ ​The​ ​piece shows​ ​a​ ​magnificent​ ​picture​ ​of​ ​everyday​ ​life​ ​in​ ​Venice​ ​and​ ​shows​ ​that​ ​through​ ​a​ ​particular​ ​scene of​ ​the​ ​beautiful​ ​town.​ ​I​ ​think​ ​that​ ​just​ ​by​ ​the​ ​visual​ ​analysis​ ​of​ ​it,​ ​I​ ​think​ ​that​ ​it​ ​masters​ ​the​ ​view of​ ​everyday​ ​life​ ​in​ ​Venice​ ​by​ ​the​ ​way​ ​that​ ​nothing​ ​looks​ ​staged,​ ​or​ ​posed.​ ​It​ ​is​ ​just​ ​an​ ​everyday picture​ ​of​ ​normal​ ​tasks​ ​such​ ​as​ ​fishing​ ​and​ ​walking​ ​the​ ​streets.​ ​It​ ​would​ ​be​ ​as​ ​if​ ​I​ ​went​ ​and​ ​took a​ ​picture​ ​of​ ​students​ ​at​ ​Covenant​ ​walking​ ​to​ ​class​ ​or​ ​going​ ​to​ ​the​ ​overlook,​ ​it​ ​is​ ​not​ ​anything special,​ ​yet​ ​it​ ​is​ ​relatable​ ​to​ ​us​ ​as​ ​the​ ​viewer,​ ​because​ ​we​ ​could​ ​see​ ​ourselves​ ​doing​ ​these​ ​very tasks.

Canaletto​ ​(Giovanni​ ​Antonio​ ​Canal)​, Piazza​ ​San​ ​Marco,​ ​​(Italian,​ ​Venice​ ​1697–1768 Venice),​ ​late​ ​1720s,​ ​Oil​ ​on​ ​canvas,​ ​27​ ​x​ ​44​ ​1/4​ ​in.​ ​(68.6​ ​x​ ​112.4​ ​cm),​ ​1988.162

This​ ​representation​ ​that​ ​Canaletto​ ​did​ ​of​ ​the​ ​square​ ​of​ ​San​ ​Marco.​ ​As​ ​you​ ​can​ ​see​ ​Canaletto​ ​used similar​ ​sky​ ​features​ ​and​ ​displays​ ​the​ ​architecture​ ​in​ ​this​ ​square​ ​as​ ​he​ ​treated​ ​in​ ​the​ ​first​ ​painting,

Venice:​ ​Santa​ ​Maria​ ​della​ ​Salute.​ ​​He​ ​also​ ​pays​ ​much​ ​attention​ ​to​ ​light​ ​and​ ​shadows​ ​in​ ​this painting​ ​as​ ​well​ ​as​ ​the​ ​first.​ ​You​ ​can​ ​actually​ ​look​ ​at​ ​the​ ​architecture​ ​and​ ​even​ ​the​ ​foreground​ ​in this​ ​painting​ ​and​ ​feel​ ​the​ ​warmth​ ​of​ ​the​ ​sun.​ ​This​ ​is​ ​one​ ​of​ ​Canaletto’s​ ​trademarks​ ​within​ ​his paintings​ ​is​ ​always​ ​being​ ​able​ ​to​ ​see​ ​the​ ​sun​ ​and​ ​the​ ​effects​ ​give​ ​a​ ​welcoming​ ​and​ ​warm​ ​tone. This​ ​painting​ ​is​ ​another​ ​example​ ​of​ ​life​ ​in​ ​Venice​ ​because​ ​the​ ​people​ ​seem​ ​to​ ​be​ ​doing​ ​everyday tasks.​ ​In​ ​the​ ​background​ ​of​ ​the​ ​painting​ ​in​ ​front​ ​of​ ​the​ ​building​ ​to​ ​the​ ​left,​ ​there​ ​are​ ​people​ ​sitting at​ ​a​ ​table​ ​with​ ​an​ ​umbrella​ ​blocking​ ​them​ ​from​ ​the​ ​sun.​ ​This​ ​is​ ​inviting​ ​us​ ​into​ ​the​ ​picture,​ ​are we​ ​at​ ​the​ ​table​ ​under​ ​the​ ​umbrella​ ​having​ ​brunch​ ​or​ ​are​ ​we​ ​walking​ ​along​ ​doing​ ​our​ ​errand running.

Bernardo​ ​Bellotto,​ ​View​ ​of​ ​the​ ​Grand​ ​Canal​ ​and​ ​the​ ​Dogana,​ ​about​ ​1743,​ ​w236.9​ ​x h139.1​ ​cm,​ ​oil​ ​on​ ​canvas,​ ​From​ ​the​ ​collection​ ​of​ ​The​ ​J.​ ​Paul​ ​Getty​ ​Museum

Bernardo​ ​Bellotto​ ​was​ ​the​ ​nephew​ ​of​ ​Canaletto.​ ​Bellotto​ ​was​ ​known​ ​for​ ​his​ ​idealized views​ ​of​ ​Venice.Together​ ​Canaletto​ ​and​ ​Bellotto​ ​produced​ ​many​ ​painted​ ​vistas​ ​for​ ​tourists​ ​who stopped​ ​in​ ​Venice​ ​on​ ​their​ ​Grand​ ​Tour​ ​of​ ​Italy.​ ​Grand​ ​Tourists​ ​would​ ​have​ ​purchased​ ​these items​ ​as​ ​souvenirs​ ​and​ ​reflections​ ​of​ ​their​ ​cultural​ ​sophistication.​ ​This​ ​specific​ ​painting​ ​shows​ ​a busy​ ​sunny​ ​morning​ ​of​ ​the​ ​cross-section​ ​of​ ​Venetian​ ​society.​ ​This​ ​also​ ​shows​ ​Palazzo Pisani-Gritti​ ​with​ ​its​ ​arched​ ​windows​ ​and​ ​painted​ ​façade.​ ​A​ ​Venetian​ ​devotional​ ​box​ ​housing several​ ​types​ ​of​ ​religious​ ​icons​ ​hangs​ ​below​ ​the​ ​arched​ ​windows​ ​of​ ​the​ ​building​ ​at​ ​the​ ​left.​ ​This was​ ​a​ ​reminder​ ​to​ ​the​ ​Venetians​ ​to​ ​pause​ ​for​ ​a​ ​moment​ ​to​ ​pray​ ​as​ ​they​ ​were​ ​leaving​ ​or​ ​arriving. The​ ​Baroque​ ​church​ ​of​ ​Santa​ ​Maria​ ​Della​ ​Salute​ ​dominates​ ​the​ ​right​ ​bank,​ ​which​ ​is​ ​the​ ​focus​ ​of Canaletto’s​ ​first​ ​piece.​ ​It​ ​is​ ​known​ ​that​ ​the​ ​two​ ​had​ ​a​ ​rivalry.​ ​This​ ​is​ ​an​ ​example​ ​of​ ​Bellotto trying​ ​to​ ​one-​ ​up​ ​Canaletto.​ ​Next​ ​to​ ​it​ ​is​ ​a​ ​row​ ​of​ ​houses,​ ​and​ ​to​ ​the​ ​far​ ​right​ ​is​ ​the​ ​Dogana​ ​or customs​ ​building.​ ​This​ ​is​ ​a​ ​perfect​ ​example​ ​of​ ​Venice​ ​before​ ​the​ ​eighteenth​ ​century,​ ​safe,​ ​secure, and​ ​welcoming.​ ​Bellottos’​ ​style​ ​of​ ​painting​ ​is​ ​similar​ ​to​ ​Canaletto’s,​ ​yet​ ​Bellotto​ ​uses​ ​more​ ​cool tones​ ​with​ ​specific​ ​warm​ ​qualities,​ ​whereas​ ​Canaletto​ ​uses​ ​mostly​ ​warm​ ​tones.

Antonio​ ​Joli,​ ​The​ ​Courtyard​ ​of​ ​the​ ​Doge’s​ ​Palace​ ​with​ ​the​ ​Apostolic​ ​Nuncio Monsignor​ ​Giovanni​ ​Francesco​ ​Stoppani​ ​and​ ​Senators​ ​in​ ​Procession,​ ​17​ ​April​ ​1741,​ ​about 1742,​ ​oil​ ​on​ ​canvas,​ ​63​ ​1/4​ ​×​ ​87​ ​1/4​ ​in​ ​160.7​ ​×​ ​221.6​ ​cm,​ ​National​ ​Gallery​ ​of​ ​Art, Washington

Antonio​ ​Joli’s​ ​landscapes​ ​and​ ​architectural​ ​paintings​ ​take​ ​viewers​ ​to​ ​panoramic​ ​outlooks​ ​that highlight​ ​the​ ​magnanimity​ ​of​ ​human​ ​existence​ ​against​ ​a​ ​backdrop​ ​of​ ​scenery.​ ​This​ ​painting displays​ ​a​ ​scenery​ ​with​ ​clusters​ ​of​ ​people​ ​in​ ​the​ ​courtyard​ ​at​ ​the​ ​Doge’s​ ​Palace.​ ​​He​ ​enlivened​ ​his paintings​ ​with​ ​human​ ​activity,​ ​imbuing​ ​each​ ​cluster​ ​of​ ​figures​ ​and​ ​animals​ ​with​ ​a​ ​vibrancy​ ​and sense​ ​of​ ​narrative.​ ​Joli’s​ ​preciseness​ ​makes​ ​his​ ​artwork​ ​stand​ ​out.​ ​The​ ​exquisite​ ​detail​ ​​ ​makes you​ ​feel​ ​like​ ​you​ ​have​ ​transported​ ​into​ ​this​ ​space.​ ​Also​ ​this​ ​painting​ ​like​ ​Canaletto’s​ ​involves this​ ​beautiful​ ​romantic​ ​blue​ ​sky.​ ​This​ ​painting​ ​also​ ​is​ ​a​ ​good​ ​example​ ​of​ ​one-point​ ​perspective. All​ ​the​ ​painting​ ​is​ ​pointing​ ​to​ ​the architecture​ ​in​ ​the​ ​back.​ ​This​ ​painting​ ​shows​ ​how​ ​important arches​ ​are​ ​to​ ​Italy.​ ​This​ ​building​ ​on​ ​the​ ​right​ ​is​ ​full​ ​of​ ​the​ ​arches.​ ​This​ ​shows​ ​Venice's​ ​history and​ ​what​ ​was​ ​once​ ​important​ ​to​ ​them.

Francesco​ ​Guardi,​ ​The​ ​Isola​ ​della​ ​Madonnetta​ ​on​ ​the​ ​Lagoon​ ​of​ ​Venice,​ ​c.​ ​1785​ ​- 1790,​ ​w55.2​ ​x​ ​h35.6​ ​cm​ ​(sight),​ ​from​ ​the​ ​Harvard​ ​Art​ ​Museums/Fogg​ ​Museum,​ ​oil​ ​on canvas

Francesco​ ​Guardi's​ ​painterly​ ​style​ ​is​ ​known​ ​as​ ​​pittura​ ​di​ ​tocco​​ ​(of​ ​touch)​ ​for​ ​its​ ​small dotting​ ​and​ ​spirited​ ​brush-strokes.​ ​This​ ​particular​ ​painting​ ​shows​ ​a​ ​side​ ​to​ ​Venice​ ​that​ ​is​ ​not showed​ ​in​ ​the​ ​other paintings.​ ​This​ ​is​ ​a​ ​visual​ ​rest​ ​for​ ​the​ ​viewer.​ ​The​ ​scene​ ​is​ ​a​ ​Venetian​ ​home, with​ ​fisherman​ ​coming​ ​back​ ​to​ ​it​ ​after​ ​a​ ​long​ ​day's​ ​work.​ ​The​ ​sweeping​ ​clouds​ ​and​ ​subtle​ ​but beautiful​ ​sunset​ ​completes​ ​this​ ​painting.​ ​This​ ​painting​ ​can​ ​relate​ ​to​ ​us​ ​as​ ​viewers.​ ​We​ ​can​ ​relate to​ ​coming​ ​home​ ​after​ ​a​ ​long​ ​day's​ ​work.​ ​The​ ​loose​ ​way​ ​that​ ​Guardi​ ​paints​ ​presents​ ​a​ ​different way​ ​of​ ​seeing​ ​Venice,​ ​through​ ​the​ ​lens​ ​of​ ​a​ ​homeowner​ ​in​ ​Venice.​ ​This​ ​also​ ​is​ ​rather​ ​different than​ ​Canaletto,​ ​Bellotto,​ ​and​ ​especially​ ​Joli.​ ​This​ ​shows​ ​that​ ​during​ ​the​ ​same​ ​period​ ​of​ ​time​ ​even though​ ​these​ ​artists​ ​were​ ​inspired​ ​by​ ​each​ ​other,​ ​they​ ​were​ ​also​ ​trying​ ​to​ ​find​ ​ways​ ​to​ ​display Venice​ ​in​ ​a​ ​new​ ​different​ ​way.

Giovanni​ ​Domenico​ ​Tiepolo​ (Italian,​ ​Venice​ ​1727–1804 Venice), A​ ​Dance​ ​in​ ​the​ ​Country,​ ​​,​ ​1755,​ ​Oil​ ​on​ ​canvas,​ ​29​ ​3/4​ ​x​ ​47​ ​1/4​ ​in.​ ​(75.6​ ​x​ ​120​ ​cm),​ ​1980.67

Giovanni​ ​Domenico​ ​Tiepolo​ ​was​ ​a​ ​talented​ ​​genre​​ ​painter,​ ​especially​ ​of​ ​scenes​ ​from contemporary​ ​life​ ​and​ ​the​ ​popular​ ​theatre,​ ​as​ ​in​ ​the​ ​decorations​ ​of​ ​his​ ​villa​ ​at​ ​Zianigo,​ ​​Italy​​ ​(now in​ ​the​ ​Civico​ ​Museo​ ​Correr,​ ​Venice).​ ​This​ ​is​ ​a​ ​different​ ​view​ ​of​ ​the​ ​famous​ ​Venice,​ ​we​ ​are literally​ ​in​ ​the​ ​space​ ​of​ ​the​ ​Venetians.​ ​This​ ​​shows​ ​an​ ​actress​ ​dancing​ ​with​ ​a​ ​young​ ​man​ ​wearing the​ ​traditional​ ​costume​ ​of​ ​the​ ​commedia​ ​dell'arte​ ​character​ ​Mezzetino.​ ​This​ ​painting​ ​still​ ​has​ ​a piece​ ​of​ ​architecture​ ​and​ ​sweeping​ ​blue​ ​sky,​ ​yet​ ​we​ ​are​ ​seeing​ ​specific​ ​people.​ ​This​ ​scene​ ​makes it​ ​look​ ​like​ ​we​ ​are​ ​walking​ ​into​ ​a​ ​party​ ​in​ ​Venice.​ ​The​ ​way​ ​Tiepolo​ ​cropped​ ​his​ ​painting​ ​forces your​ ​eye​ ​to​ ​focus​ ​on​ ​even​ ​the​ ​little​ ​details​ ​wanting​ ​to​ ​finish​ ​the​ ​image.​ ​This​ ​is​ ​why​ ​Venice​ ​was so​ ​popular​ ​in​ ​this​ ​time.​ ​People​ ​were​ ​drawn​ ​to​ ​the​ ​energy​ ​and​ ​activity​ ​the​ ​magnificent​ ​city​ ​held. Like​ ​the​ ​women​ ​in​ ​the​ ​chair​ ​in​ ​this​ ​painting,​ ​let’s​ ​all​ ​sit​ ​and​ ​enjoy​ ​the​ ​wonders​ ​of​ ​these​ ​Venice paintings.