From Canaletto to Tiepolo, eighteenth century Venetian painters created brilliant works of art that are now considered to be the last flowering of the long Venetian tradition of painting. This beautiful book provides an introduction to eighteenth century Venetian painting, discussing the various types of painting--portraiture, genre, landscape, history paintings and religious works--as well as the society, patronage and intellectual climate of Venice at this time.
"From Canaletto to Tiepolo, 18th-century Venetian painters created brilliant works of art that are now considered to be the last flowering of the long Venetian tradition of painting. This book provides an introduction to 18th-century Venetian painting, discussing the various types of painting - portraiture, genre, landscape, history paintings, and religious works - as well as the society, patronage, and intellectual climate of Venice at this time."--Amazon.com.
Venice, home of Tiepolo, Canaletto, Piranesi, Piazzetta, and Guardi, was the most artistic city of 18th-century Italy. This beautiful book examines the whole range of the arts in Venice during the period, including paintings, pastels and gouaches, drawings and watercolors, prints and illustrated books and sculpture. Beautifully illustrated.
This book traces the last century of life of the Republic of Venice. It aims to show why the "Serenissima", unlike large countries such as France or England, was not on the way to becoming a modern nation. Until its end, the city of Venice never took the shape of a real national capital, but remained the dominant centre linking wide-ranging and diverse territories around the Adriatic. The particularism, or rather polycentrism, of its state apparatus is the key to understanding its limitations, as well as the legacy left in Venice's vast domains, reaching from Corfu to Lombardy. In the 18th century the Republic was weak compared to the great European states. Its institutions and leadership had been frozen for two centuries and there was no political reform, although Enlightenment culture diffused widely over the century. On the economic level, however, there was little sign of "decay": merchant traffic continued to prosper and there were a number of new developments in the manufacturing sphere.
The Royal Collection has one of the largest and finest collections of Venetian art from the first half of the eighteenth century. It includes paintings, prints and drawings by Canaletto himself, as well as those of his contemporaries, such as Sebastiano and Marco Ricci, Antonio Visentini, Francesco Zuccarelli and Giovanni Battista Piazzetta. These artists were patronised by Consul Smith and their works were later purchased by George III. This lavishly illustrated catalogue marks the first time that the rich holdings of eighteenth-century Venetian art in the Royal Collection will have been brought together, and focuses on presenting these extraordinary works against the background of the social and artistic networks of the period. Whilst displaying and analysing the brilliant works of Canaletto himself, including his cityscapes, capriccios and paintings of architecture, this catalogue also discusses the intimate interior of Venetian life, explores the links between artists and the theatre in Venice at this time and looks at Venice as a centre for printmaking and book production.
Canaletto, Bernardo Bellotto, Luca Carlevarijs, Giovanni Paolo Panini, Francesco Guardi, Hubert Robert—these renowned view painters are perhaps most famous for their expansive canvases depicting the ruins of Rome or the canals of Venice. Many of their most splendid paintings, however, feature important contemporary events. These occasions motivated some of the greatest artists of the era to produce their most exceptional work. Little explored by scholars, these paintings stand out by virtue of their extraordinary artistic quality, vibrant atmosphere, and historical interest. They are imbued with a sense of occasion, even drama, and were often commissioned by or for rulers, princes, and ambassadors as records of significant events in which they participated. Lavishly illustrated and meticulously researched, this volume provides the first-ever comprehensive study—in any language—of this type of view painting. In examining these paintings alongside the historical events depicted in them, Peter Björn Kerber carefully reconstructs the meaning and context these paintings possessed for the artists who produced them and the patrons who commissioned them, as well as for their contemporary viewers. This vital book represents a major contribution to the field of view painting studies and will be an essential resource for scholars and enthusiasts.
This book traces the changing attitudes towards painterly brushwork from Mannerist norms to the Arcadian classicism of eighteenth-century critics. At the centre of this history of artistic taste stands the Venetian art dealer, critic and painter Marco Boschini, who wrote a rambling, metaphoric defence of Venetian painting in 1660: La carta del navegar pitoresco (The map of painterly navigation). Pittoresco, 'painterly', serves as the title of this book because the shifting opinions on painterly brushwork are contained in its semantic history, migrating in meaning from a neutral designation of all painting ('pictorial') to a specific type of painting ('painterly' or 'picturesque'). It could be interpreted as a sign of inspired creativity and manual facility, or as a sign of showy dexterity unrestrained by learning. By means of linguistic analysis, pittoresco and related terms open up a world of cultural reference where literate art critics bring their taste in poetry and rhetoric to the least literary aspect of painting: the descriptive, ornamental or inspired form of brushwork.
