Tag: Bernardo Bellotto

The XVIIIth century in Verona – Italy

Bernardo Bellotto, Veduta di Verona co Castelvecchio e il Ponte Scaligero - oil on canvas

From 26 November 2011 to 9 April 2012 – The Palazzo della Gran Guardia

We all know the Venitian XVIIIth century well, with its Guardi and Canaletto. But what about its counterpart Verona, just a few hundred kilometres away? Of course authors who were active in Venice also left their mark in Verona such as Tiepolo or Bernardo Bellotto. Of course they are represented in the exhibition that nevertheless wishes to bring forward those artists who have been half-forgotten. It is the case of Giambettino Cignaroli who was at the origin of a local academy, and more so, Pietro Antonio Rotari, who was sought by the Tsars in Saint-Petersburg as much as Vernet or Elisabeth Vigée-Lebrun. In an era in which virtual reconstitutions are common practice, the one that stages the return of the Triumph of Hercules is much awaited: this fresco by Giambattista Tiepolo, that decorated the Palazzo Canossa, returned to dust during the bombing of the Ponte Scaligero bridge, in the night of 24 Apr il 1945.

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Venice: Canaletto and His Rivals – Washington DC

Canaletto - The Square of Saint Mark's, Venice, 1742/1744 oil on canvas overall: 114.6 x 153 cm - Gift of Mrs. Barbara Hutton 1945.15.3

February 20 to May 30, 2011 – National Gallery of Art, Washington, DC

Venice inspired a school of competitive view painters whose achievements are among the most brilliant in 18th-century art. The exhibition celebrates the rich variety of these Venetian views, known as vedute, through some 20 masterworks by Canaletto and more than 30 by his rivals, including Michele Marieschi, Francesco Guardi, and Bernardo Bellotto. Responding to an art market fueled largely by the Grand Tour, these gifted painters depicted the famous monuments and vistas of Venice in different moods and seasons.

Giovanni Antonio Canal was born in Venice on October 17 or 18, 1697 to a well-defined class in Venetian society, just below the ranks of the patrician nobility. His father, Bernardo Canal, was a painter of theatrical scenery and a view painter, and Canaletto appears to have assisted him at an early stage in the role of theater designer. In 1719-1720 he accompanied his father to Rome to execute scenes for two operas by Alessandro Scarlatti performed there during the Carnival of 1720. While in Rome, according to Anton Maria Zanetti, one of the artist’s earliest biographers, the young man abandoned the theatre and began to draw and paint architectural views. Canaletto’s name was inscribed for the first time in the register of the Venetian artists’ guild in 1720, which suggests a date for the beginning of his career as pittor di vedute, or view painter. He adopted the diminutive Canaletto (the little Canal) by the mid-1720s, presumably to distinguish his work from his father’s.
Organized by the National Gallery of Art, Washington, and the National Gallery, London.

Museum Hours

Venice: Canaletto and His Rivals – London – United Kingdom

The National Gallery - The Stonemason's Yard about 1725, Canaletto

13 October 2010 – 16 January 2011 – The National Gallery – Sainsbury Wing

This exhibition presents the finest assembly of Venetian views since the much-celebrated display in Venice in 1967. It features works by Canaletto and all the major practitioners of the genre.

Remarkably, considering the dominant role of British patronage in this art form, ‘Venice: Canaletto and His Rivals’ is the first exhibition of its kind to be organised in the UK.

Bringing together around 60 major loans from public and private collections across Europe and North America, the exhibition highlights the rich variety of Venetian view painting.

In each room, major works by Canaletto are juxtaposed with those of his rivals and associates, to demonstrate different approaches to similar views of the city.

Major rivals on display include Luca Carlevarijs, Michele Marieschi, Bernardo Bellotto, and Francesco Guardi. Also represented are less well-known painters, each responding to the market driven largely by the British Grand Tour.

Many of Canaletto’s greatest masterpieces are on display, including ‘The Riva degli Schiavoni, looking West’ (Sir John Soane’s Museum, London), The Stonemason’s Yard (The National Gallery, London), and four of the finest works from the Royal Collection.

The exhibition has been organised by the National Gallery, London, and the National Gallery of Art, Washington.

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La Serenissima: Eighteenth-century Venetian Art – Oklahoma City – Oklahoma

Giovanni Battista Tiepolo. Juno and Luna, ca. 1735. Oil on canvas

September 9, 2010 – January 2, 2011 – Oklahoma
City Museum of Art

La Serenissima: Eighteenth-century Venetian Art from North American Collections
For over a millennium, the Italian coastal state of the Most Serene Republic of Venice, or La Serenissima, flourished as a center for sea trade and the arts. It also became an important destination on the Grand Tour. Venice’s impressive skylines and unique network of canals, palaces, and churches inspired artists, especially during the eighteenth century. Today, collections throughout North America hold many works from this prolific period.

This fall, the Oklahoma City Museum of Art presents La Serenissima: Eighteenth-century Venetian Art from North American Collections, on view September 9, 2010–January 2, 2011. Originated by OKCMOA, La Serenissima brings together approximately 65 works from more than 25 collections. Together, these works cover eighteenth-century Venetian art in the age of the Grand Tour and through the decline of the Republic, brought about by Napoleon’s invasion of Italy in the last decade of the century.

La Serenissima will highlight mythological, biblical, historical, and genre works by artists such as Pietro Longhi, Sebastiano Ricci, Giovanni Battista Tiepolo, and his son, Giovanni Domenico Tiepolo. It will also contain works by Venetian view painters, including master painter Antonio Canaletto, Bernardo Bellotto, Luca Carlevarijs, and Francesco Guardi. These artists created exquisite paintings of Venice’s streets and waterways that had a broad appeal and influenced many artists living both in and outside of Venice

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