Antonio CANAL, known as CANALETTO (Venice, 1697–1768) - Lot 2

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75000 - 100000 EUR
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Antonio CANAL, known as CANALETTO (Venice, 1697–1768) - Lot 2
Antonio CANAL, known as CANALETTO (Venice, 1697–1768) Ruined arch spanning a canal with a pavilion Pen and brown ink, gray and brown wash 36.5 x 52.5 cm Inscribed “Canaletto” in the lower left corner Traces of restoration, sun-faded, vertical center fold This drawing can be compared to a similar painting with minor variations (see: W.E. Constable and J.E. Links, *Canaletto*, Oxford, 1989, 2 volumes, no. 511, pl. 93) The architectural elements of this capriccio were often used by Canaletto in other imaginary landscapes (see the work cited above, nos. 823, 824, 825) Giovanni Antonio Canal, known as Canaletto, left his mark on the 18th century by becoming one of the most famous representatives of Italian veduta painting. The veduta, meaning “view” in Italian, is an urban landscape or panoramic painting characterized by its topographical accuracy and expert use of perspective. In the 18th century, Venice was recognized as the capital of veduta painting, led by its foremost artist, Canaletto. The son of a Venetian artist who painted theater sets, he learned to paint in his father’s studio. In 1720, during a trip to Rome, the young Canaletto met artists who were pioneers of vedutism, such as Giovanni Paolo Panini and Caspar van Wittel, who would greatly influence him. Upon his return to Venice, he devoted himself to vedute. His incredibly detailed works combine a mastery of light and shadow with geometric precision, while maintaining a surprising topographical freedom. They were particularly popular with foreign art lovers, especially young English aristocrats who had visited Venice during their Grand Tour. Internationally renowned, Canaletto moved to London in 1746 for four years, where his vedute of the English capital were greatly appreciated. Consequently, the richest collection of Canaletto’s works is that of the British Royal Collection, which alone holds more than 54 paintings and 143 drawings by the artist. Based on realistic depictions of urban landscapes derived from outdoor observation and the use of the camera oscura—an optical device that allows for multiple viewpoints—Canaletto’s paintings required numerous preparatory drawings before being completed in the studio. Moving away from the realistic chiaroscuro of his early works—characterized by cold, stormy skies—Canaletto gradually idealized the Venetian scenes he depicted, infusing them with light and color. His capricci—imaginary landscapes combining ruins with often fantastical architectural elements—blend real monuments, such as the Rialto Bridge, with ruins or other architectural views of Venice. Canaletto’s success earned him numerous famous successors and followers, such as Francesco Guardi and Bernardo Bellotto. We would like to thank Ms. Bozena Anna Kowalczyk, who will include our sheet in her catalog raisonné of Canaletto’s drawings, currently in preparation and scheduled for publication in 2027. Experts at Bayser’s office; viewable at the expert’s office by appointment
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