Pittore italiano del XX secolo - (Copia da Canaletto) - Veduta di Venezia (Ricevimento dell'ambasciatore imperiale a Palazzo Ducale)

\Artist: Pittore italiano del XX secolo - (Copia da Canaletto)
Technique: Oil on canvas\Signature: Not signed\Dimensions: 86_12_118_cm
ITALIAN PAINTER OF THE 20TH CENTURY (Copy by Giovanni Antonio Canal known as Canaletto) Reception of the imperial ambassador at the Doge's Palace Oil on canvas, cm. 60. 5 x 91 - Not signed Size with frame, cm. 76 x 108 x 5 approx. NOTES: Unsigned work. Certificate of Lawful Origin. Recent work with gilded wooden frame: ". . . Beautiful painting in antique style, oil on canvas, depicting a beautiful view with the Reception of the imperial ambassador at the Doge's Palace. In the nineteenth and twentieth centuries, some anonymous painters tried their hand at the art of "copying" the great masters of the past. One of these was Canaletto, even if his photographic painting remains inimitable. The splendid panoramic view of the view was one of the most replicated and loved subjects by Antonio Canal known as Canaletto (Venice 1697 - 1768) during his long artistic career, only to be resumed by other successful successors to this day. This image refers to the original Imperial Reception at the Doge's Palace (Crespi private collection in Milan, oil on canvas, 184 x 265 cm, made around 1729) , model of a huge number of other masterpieces. The boats and characters sometimes change, and so does the point of view captured with the optical camera. However, the result is always extraordinary and perfect. The view - taken into consideration - in fact unfolds before the eyes of the observer the monumental part of the Republic seen from the east, with the Riva degli Schiavoni and the parade of prestigious palaces, in particular the Palazzo Ducale, which were the symbol of the beauty of the lagoon . In the original work: Reception of the imperial ambassador at the Doge's Palace, painted by Giovanni Antonio Canal known as Canaletto, is traditionally referred to the arrival in Venice of Count Giuseppe di Bolagno, envoy of the emperor (source: Zampetti in "CMV", ed. 1967) . This event took place in the Doge's Palace on May 16, 1729, so the canvas could have been made in the months immediately following. In the canvas in question, the artist takes up similar subjects painted from the original, respecting the scenic setting, distancing himself, however, for the solar clarity of the light and the chromatic vividness. Let's dwell on the details. The space is marked by the sky, the waters and the wonder of Venice, fixed as in a high-definition image in which no detail escapes us. The green of the lagoon reflecting on the sky, the boats near and far, the chatter of the people on the shore and on the gondolas, the details of the multicolored marble floors, and the palaces and churches bathed in the sun, which parade the shore from right to near the center. The eighteenth-century garments of the people on the shore are all pastel or gray-brown: Venice does not participate in the cheerful polychromy of the clothes of Paris and London. Even the gondolas, most of them are strictly all black. The long shadows and the sun that illuminates the shore make us understand that the scene stares at the city on a morning of lively and laborious turmoil. The morning light enhances the architectural details of the precious historic buildings. The canvas is a snapshot of life and everyday life, and as in many other works by Canaletto we have the sensation of the temperature of the air, of its degree of humidity, of the light breeze that moves this air. All sensations that no modern photography can give us. Whoever observes a photograph knows that it is a photograph, but whoever looks at a Canaletto work like this and lingers carefully, will have the sensation of perceiving reality concretely. The secret lies in painting with a free, simplified stroke that will then be reworked by the mind of the beholder, generating an impression of truth. The same approach that Claude Monet will use over a century after he shared with Canaletto the sense of light and the simplicity of the sign that represents it. It is therefore the brain that recomposes the image, because as we well know we do not see with the eyes but with the mind. And all this gives us a truer image than the photo shoot. The painting considered here, therefore, is characterized by a perspective setting identical to that of the museum versions. The similarities, in fact, extend to the boats, the figures and the general chromatic affinity, even if they differ in terms of size. The view, characterized by a moderate executive level, is attributable to a contemporary artist who looks and copies Canaletto - active towards the end of the last century (after the second half of the twentieth century) - who was able to render the characteristics of the style and the atmosphere of the view preserved in important museums and collections. Regarding its state of conservation, the canvas is in fairly discreet general conditions. There are no conservative problems and it does not seem to need interventions. The measures of the canvas are cm. 60. 5 x 91. The painting, of good pictorial quality, is with a gilded and worked wooden frame of recent times, and therefore the canvas is sold with the frame (the measures of the frame are approx. 76 x 108 x 5 cm) . . . " ORIGIN: Coll. private PUBLICATION: Unpublished; MYTHS AND THE TERRITORY in Sicily with a thousand cultures. UNPUBLISHED QUADRERIA general catalog of paintings from the collection of the “Myths and the territory” cycle, Publisher Lab_04, Marsala, (in print 2021) . We also guarantee accurate packaging with external wooden crate and bubble wrap / cardboard / internal polystyrene (packaging cost approximately € 100. 00) and tracked shipping (€ 100. 00 Italy) . For export, the work is subject to a request for a Certificate of Free Movement (European Community) or Certificate of Export (Extra-Community Transport) , at the export office (Superintendence of the territory) with the times and costs incurred ( € 300 / € 500, all included: shipping, packaging and particular exports) .