Scuola Italiana (Copia da Canaletto) - XX secolo - La riva degli Schiavoni con Palazzo Ducale, il Canal Grande con la Chiesa della Salute
\Artist: Scuola Italiana (Copia da Canaletto) - XX secolo
Technique: olio su tela, cm. 60,5 x 90,5\Signature: Not signed\Dimensions: 86_12_116_cm
Italian painter from the 20th century. (Copy after Giovanni Antonio Canal, known as Canaletto) . La riva degli Schiavoni con Palazzo Ducale, il Canal Grande con la Chiesa della Salute Oil on canvas, 60. 5 x 90. 5 cm - Not signed. Dimensions with frame: approx. 76 x 106 x 6 cm. BROWSE CATALOGUE (copy link) : https: //www. sfogliami. it/fl/241189/3tv3uqgjenr7xrk8cdpd6ttj35dy417#page/146 Please note: Publication of the catalogue of works from the Intermidiart collection. Unsigned artwork. With certificate of lawful origin. With a recent gilded wooden frame. " . . . Beautiful antique-style painting, oil on canvas, depicting a beautiful view with the riva degli Schiavoni and Palazzo Ducale, the Canal Grande with the Chiesa della Salute in Venice. In the 19th and 20th century some anonymous painters experimented with the art of "copying" the great masters of the past. One of them was Canaletto, although his photographic painting style remains unparalleled. The wonderful panoramic view of the scene was one of the most replicated and loved subjects by Antonio Canal, known as Canaletto (Venice, 1697-1768) during his long artistic career, and was later taken up by other skilled successors, to this day. This painting is a variation with the same perspective as the original entitled: “Ricevimento imperiale a Palazzo ducale” (Crespi private collection in Milan, oil on canvas 184 x 265 cm, made in c. 1729) , the model of a huge number of other masterpieces. The boats and characters sometimes change, and the point of view captured with the “camera ottica” also changes. The result, however, is always extraordinary and perfect. The view, in fact, displays 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 Palazzo Ducale, that constituted the symbol of the central power of the state. ‘Ricevimento dell’ambasciatore imperiale a palazzo ducale’, 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 at the Doge's Palace on May 16, 1729, so the canvas may have been made in the months immediately following. In the present painting, however, the artist adheres to the scenic setting, while distancing himself from the work in the Crespi collection, on the festive event of the reception of the imperial ambassador at the Doge’s Palace. The author renders with delightful calmness a daring view of the Doge's Palace, continuing in the Sansovinian Library and the façade of the Palazzo della Zecca. The view is only interrupted near St Mark's Square, with the columns of the city's two patron saints, Mark and Theodore or Tòdaro, if pronounced in the Venetian way, also paired in the double colour that distinguishes them, Troadense marble for the former and Egyptian red for the latter. The moored gondolas contribute to the flourishing of the geometric construct permeating the composition, appearing in perfect fade, one behind the other, neatly waiting for Venetians or tourists. In the distance, the white profile of Santa Maria della Salute is reflected in the soft clouds in the background. Let us dwell on the details. The space is punctuated 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 that is reflected on the sky, the boats near and far, the chatter of people on the shore and on the gondolas, the details of the multicoloured marble floors, and the palaces and churches flooded by the sun, which parade the bank from the right to near the centre. The eighteenth-century clothes of the people on the shore are all pastel or grey-brown: Venice does not participate in the cheerful polychromy of the clothes of Paris and London. The gondolas are also for the most part strictly black. The long shadows and the sun that illuminates the shore make us understand that the scene fixes the city on a morning of lively and laborious ferment. The morning light enhances the architectural details of the fine palaces. The canvas is a snapshot of daily life and, as in many other works of Canaletto, we can feel the temperature, its degree of humidity, the slight breeze that moves the air. All sensations that no modern photograph can give. Those who look at a photograph know that it is a photograph, but those who look at a work by Canaletto such as this one and pause carefully, will have the feeling of perceiving reality concretely. The secret lies in painting with a free, simplified style that will then be reworked by the mind of the observer, generating an impression of truth. It is the same approach that Claude Monet will use over a century after Canaletto, with whom he shared the sense of light and the simplicity of the lines that represent it. It is therefore the brain that puts the image back together, because as we well know we do not see with the eyes but with the mind. And all this results in an image than is truer that photo. The painting offered here is characterized by a perspective approach identical to that of the museum versions. The similarities, in fact, do not extend to boats, figures and general colour affinity, nor do they extend to size. The view, characterised by a fairly good executive level, is attributable to a contemporary artist who observed and copied Canaletto – active towards the end of the twentieth century (after the second half of the century) – who was able to skilfully render the characteristics of the style and atmosphere of the view preserved in various museums and important collections. The canvas is in rather fair overall condition. There are no conservation issues and it does not seem to require restoration. Canvas dimensions: 60. 5 x 90. 5 cm. This painting of good workmanship comes with a recently-made wooden frame, gilded and carved (frame size: approx. 76 x 106 x 6 cm) . Origin: private collection. Publication: \t. Unpublished; \t. I Miti e il Territorio nella Sicilia dalle mille culture. “INEDITA QUADRERIA” general catalogue of the paintings in the collection of the series “I Miti e il territorio”, 2nd edition, Editore Lab_04, Marsala, 2022. We guarantee accurate packaging with outer wooden crate and inner bubble wrap / cardboard / polystyrene (packaging cost: approximately €120. 00) and tracked shipping (€130. 00 Italy) . For export, the work is subject to a request for a Certificate of Free Circulation (European Community) or an Export Certificate (transport to non-EU countries) at the export office (Territorial Superintendency) with additional times and costs (€450/€900, all inclusive: shipping, packaging and export documents) . The original documents (including the catalogue, will be sent separately after receiving payment from Catawiki) . The shipment may be delayed by a few days/weeks for logistical and administrative reasons.
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\Artist: Scuola Italiana (Copia da Canaletto) - XX secolo
Technique: olio su tela, cm. 60,5 x 90,5\Signature: Not signed\Dimensions: 86_12_116_cm
Italian painter from the 20th century. (Copy after Giovanni Antonio Canal, known as Canaletto) . La riva degli Schiavoni con Palazzo Ducale, il Canal Grande con la Chiesa della Salute Oil on canvas, 60. 5 x 90. 5 cm - Not signed. Dimensions with frame: approx. 76 x 106 x 6 cm. BROWSE CATALOGUE (copy link) : https: //www. sfogliami. it/fl/241189/3tv3uqgjenr7xrk8cdpd6ttj35dy417#page/146 Please note: Publication of the catalogue of works from the Intermidiart collection. Unsigned artwork. With certificate of lawful origin. With a recent gilded wooden frame. " . . . Beautiful antique-style painting, oil on canvas, depicting a beautiful view with the riva degli Schiavoni and Palazzo Ducale, the Canal Grande with the Chiesa della Salute in Venice. In the 19th and 20th century some anonymous painters experimented with the art of "copying" the great masters of the past. One of them was Canaletto, although his photographic painting style remains unparalleled. The wonderful panoramic view of the scene was one of the most replicated and loved subjects by Antonio Canal, known as Canaletto (Venice, 1697-1768) during his long artistic career, and was later taken up by other skilled successors, to this day. This painting is a variation with the same perspective as the original entitled: “Ricevimento imperiale a Palazzo ducale” (Crespi private collection in Milan, oil on canvas 184 x 265 cm, made in c. 1729) , the model of a huge number of other masterpieces. The boats and characters sometimes change, and the point of view captured with the “camera ottica” also changes. The result, however, is always extraordinary and perfect. The view, in fact, displays 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 Palazzo Ducale, that constituted the symbol of the central power of the state. ‘Ricevimento dell’ambasciatore imperiale a palazzo ducale’, 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 at the Doge's Palace on May 16, 1729, so the canvas may have been made in the months immediately following. In the present painting, however, the artist adheres to the scenic setting, while distancing himself from the work in the Crespi collection, on the festive event of the reception of the imperial ambassador at the Doge’s Palace. The author renders with delightful calmness a daring view of the Doge's Palace, continuing in the Sansovinian Library and the façade of the Palazzo della Zecca. The view is only interrupted near St Mark's Square, with the columns of the city's two patron saints, Mark and Theodore or Tòdaro, if pronounced in the Venetian way, also paired in the double colour that distinguishes them, Troadense marble for the former and Egyptian red for the latter. The moored gondolas contribute to the flourishing of the geometric construct permeating the composition, appearing in perfect fade, one behind the other, neatly waiting for Venetians or tourists. In the distance, the white profile of Santa Maria della Salute is reflected in the soft clouds in the background. Let us dwell on the details. The space is punctuated 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 that is reflected on the sky, the boats near and far, the chatter of people on the shore and on the gondolas, the details of the multicoloured marble floors, and the palaces and churches flooded by the sun, which parade the bank from the right to near the centre. The eighteenth-century clothes of the people on the shore are all pastel or grey-brown: Venice does not participate in the cheerful polychromy of the clothes of Paris and London. The gondolas are also for the most part strictly black. The long shadows and the sun that illuminates the shore make us understand that the scene fixes the city on a morning of lively and laborious ferment. The morning light enhances the architectural details of the fine palaces. The canvas is a snapshot of daily life and, as in many other works of Canaletto, we can feel the temperature, its degree of humidity, the slight breeze that moves the air. All sensations that no modern photograph can give. Those who look at a photograph know that it is a photograph, but those who look at a work by Canaletto such as this one and pause carefully, will have the feeling of perceiving reality concretely. The secret lies in painting with a free, simplified style that will then be reworked by the mind of the observer, generating an impression of truth. It is the same approach that Claude Monet will use over a century after Canaletto, with whom he shared the sense of light and the simplicity of the lines that represent it. It is therefore the brain that puts the image back together, because as we well know we do not see with the eyes but with the mind. And all this results in an image than is truer that photo. The painting offered here is characterized by a perspective approach identical to that of the museum versions. The similarities, in fact, do not extend to boats, figures and general colour affinity, nor do they extend to size. The view, characterised by a fairly good executive level, is attributable to a contemporary artist who observed and copied Canaletto – active towards the end of the twentieth century (after the second half of the century) – who was able to skilfully render the characteristics of the style and atmosphere of the view preserved in various museums and important collections. The canvas is in rather fair overall condition. There are no conservation issues and it does not seem to require restoration. Canvas dimensions: 60. 5 x 90. 5 cm. This painting of good workmanship comes with a recently-made wooden frame, gilded and carved (frame size: approx. 76 x 106 x 6 cm) . Origin: private collection. Publication: \t. Unpublished; \t. I Miti e il Territorio nella Sicilia dalle mille culture. “INEDITA QUADRERIA” general catalogue of the paintings in the collection of the series “I Miti e il territorio”, 2nd edition, Editore Lab_04, Marsala, 2022. We guarantee accurate packaging with outer wooden crate and inner bubble wrap / cardboard / polystyrene (packaging cost: approximately €120. 00) and tracked shipping (€130. 00 Italy) . For export, the work is subject to a request for a Certificate of Free Circulation (European Community) or an Export Certificate (transport to non-EU countries) at the export office (Territorial Superintendency) with additional times and costs (€450/€900, all inclusive: shipping, packaging and export documents) . The original documents (including the catalogue, will be sent separately after receiving payment from Catawiki) . The shipment may be delayed by a few days/weeks for logistical and administrative reasons.
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