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Padua: The Prato della Valle with Santa Giustinia and the Church of Misericordia (sheet 1) df
Canaletto126.jpg
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Padua:_The_Prato_della_Valle_with_Santa_Giustinia_and_the_Church_of_Misericordia_(sheet_1)_df
c. 1740
Pen and ink on two sheets of paper, 271 743 mm
Royal Collection, Windsor
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Padua: The Prato della Valle with Santa Giustinia and the Church of Misericordia (sheet 2) cfsd
Canaletto127.jpg
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Padua:_The_Prato_della_Valle_with_Santa_Giustinia_and_the_Church_of_Misericordia_(sheet_2)_cfsd
c. 1740
Pen and ink on two sheets of paper, 271 743 mm
Royal Collection, Windsor
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Mestre fg
Canaletto128.jpg
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Mestre__fg
1740-42
Etching, 299 x 428 mm
British Museum, London
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Imaginary View of Venice dfgd
Canaletto129.jpg
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Imaginary_View_of_Venice__dfgd
1740-42
Etching, 295 x 425 mm
British Museum, London
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The Piazzetta: Looking North, the Campanile under Repair bdr
Canaletto130.jpg
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The_Piazzetta:_Looking_North,_the_Campanile_under_Repair_bdr
1745
Pen and ink with wash on paper, 425 x 292 mm
Royal Collection, Windsor
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Canaletto
Italian Rococo Era Painter, 1697-1768
Italian painter, etcher and draughtsman. He was the most distinguished Italian view painter of the 18th century. Apart from ten years spent in England he lived in Venice, and his fame rests above all on his views (vedute) of that city; some of these are purely topographical, others include festivals or ceremonial events. He also painted imaginary views (capriccios), although the demarcation between the real and the invented is never quite clearcut: his imaginary views often include realistically depicted elements, though in unexpected surroundings, and in a sense even his Venetian vedute are imaginary. He never merely re-created reality. He was highly successful with the English, helped in this by the British connoisseur JOSEPH SMITH, whose own large collection of Canaletto works was sold to King George III in 1762. The British Royal Collection has the largest group of his paintings and drawings.
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