Giovanni Antonio Canal called Canaletto - inv. 3198

Titolo: 
Architectural Caprice with Classical Ruins and Buildings
Numero di Inventario: 
3198
Tipologia: 
paintings
Collezione: 

Painting

Classe iconografica: 
Landscape
Parole chiave soggetto: 
landscape
ruins
classical buildings
Motivo attribuzione: 
bibliography
Autore, ambito, luogo di produzione: 
Giovanni Antonio Canal called Canaletto (1697-1768)
Ambito e luogo di produzione: 
Venezia
Venice
Veneto
Italy
Pubblicazione: 
Si
Periodo: 
1750
Datazione specifica: 
1756 c.
Libri correlati: 
Data di Ingresso: 
1933
Tipo di acquisizione: 
acquisition
Tipo di collocazione: 
on display
Collocazione: 
18th Century Venetian Room

Backed probably at the beginning of the 20th century and restored in 2003, the canvas is in good condition.
As well as vedute, of which he was one of the greatest and most sensitive interpreters, Canaletto also devoted himself to caprices. In this type of painting, classical buildings, often in ruins, sometimes existing but also quite imaginary, were freely placed together. This genre was much requested by both Italian and European patrons and these canvases with ideal views were often produced in pairs of the same subject.

A large ruined arch and loggia stand in the foreground under which there is a Renaissance funeral monument and an inscription that a man, leaning against a column, is trying to decipher. Other people are depicted on the right of the arch, perhaps shepherds, with long sticks and a dog. Another circular building stands on the right, impossible to date. There is a triumphal arch in the background that recalls the Gate of San Giovanni in Padua, together with a Baroque fountain and a city with a great dome. The sky is clear with just a few clouds in the left. The play of light illuminating the second arch and leaving part of the funeral monument and the first arch in shadow is very beautiful.
This painting is one of Canaletto’s most admired ideal views, so much so that many replicas and copies were made. The work’s great quality confirms attribution to the Venetian painter, even if certain critics have suggested the hand of an assistant in the perspective view of the background. The work dates to a late stage in the master’s career, about 1756.
M.G.

AC/DC: 
DC