01 Painting of the Canals of Venice by the artists of their time, with footnotes. #65

Bernardo Canal, VENICE 1674 - 1744

THE GRAND CANAL: LOOKING SOUTH FROM PALAZZI FOSCARI AND MORO-LIN TO SANTA MARIA DELLA CARITÀ

oil on canvas, unframed

72.5 x 111.3 cm.; 28 1/2  x 43 7/8  in.

Private Collection

The Grand Canal in Venice, Italy forms one of the major water-traffic corridors in the city. Public transport is provided by water buses and private water taxis, and many tourists explore the canal by gondola.

One end of the canal leads into the lagoon near the Santa Lucia railway station and the other end leads into Saint Mark Basin; in between, it makes a large reverse-S shape through the central districts of Venice. More Grand Canal

Santa Maria della Carità. The first documented church and convent on this site were founded in 1134 by an Augustinian order of friars from Ravenna, although it is said there was a wooden church on the site before this, erected to house a miracle-working Madonna. It was consecrated by Pope Alexander II on April 5th 1177, following the six months he spent hiding in the convent from Frederick Barbarossa. In 1260 the buildings passed to the Scuola Grande di Santa Maria della Carità, making it the oldest of the six Scuole Grande in Venice. The church at this time had an external portico, once a common feature in Venice but the only two remaining are on San Nicolò dei Mendicoli and San Giacomo di Rialto. More on Santa Maria della Carità 

Bernardo Canal (Venice, Italy, 1664-1744) was an Italian painter of the 17th century. He was the father of the well-known painter Canaletto (Giovanni Antonio Canal, above) and follower of Luca Carlevarijs (1663-1730). 

In 1695 he married Artemisia Barbieri. In 1717 he is registered for the first time in the guild of Venetian painters where he is recognized as a Member of the College of painters. On December 28, 1739, this organization awarded him the title of prior. He had two sons named Cristoforo and Antonio, the latter, became the great painter Canaletto, who began painting with his father.

Canal was mainly dedicated to painting stage sets for works by Vivaldi , Chelleri, Pollarolo and Orlandini in Venetian theaters in Sant'Angelo and San Cassiano. He later began painting urban scenes of Venice, joining, like his son, the movement of veduttismo.

His style, was characterized by the meticulousness in the architectural detail and the technical of luminosity. More on Bernardo Canal

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, and The Canals of Venice

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01 Painting of the Canals of Venice by the artists of their time, with foot notes. #63

Francesco Guardi, (1712–1793)

The Rialto Bridge with the Palazzo dei Camerlenghi, circa 1763

Oil on canvas

Height: 60 cm (23.6 in). Width: 91 cm (35.8 in).

Private collection

Taking its vantage point from what is today the view from the Palazzo Sernagiotto, Guardi illustrates iconic landmarks of the Venetian landscape including the Palazzo Civran, the Fondaco dei Tedeschi, long famous for its murals by Giorgione and Titian, the Palazzo dei Camerlenghi, the Fruit Market and the supremely elegant Rialto Bridge itself, built in 1588–91 to the design of Antonio da Ponte. This was the spectacular scene that would have greeted tourists in the eighteenth century as they entered Venice from the south. Through his flickering delicacy of touch and masterful suffusing of colour, Guardi creates an expression of atmosphere like no other view painter of his time. More on this Painting

Francesco Lazzaro Guardi (October 5, 1712 – January 1, 1793) was an Italian painter of veduta, nobleman, and a member of the Venetian School. He is considered to be among the last practitioners of the classic Venetian school of painting.

In 1735, Guardi moved to the workshop of Michele Marieschi, where he remained until 1743. His first certain works are from 1738, for a parish at Vigo d'Anuania, in Trentino. In this period he worked alongside his older brother.

His works in this period included both landscapes and figure compositions. In 1763 he worked in Murano, in the church of San Pietro Martire, finishing a Miracle of a Dominican Saint.

Francesco Guardi's most important later works include the Doge's Feasts, a series of twelve canvases celebrating the ceremonies held in 1763 for the election of Doge Alvise IV Mocenigo. In circa 1778, he painted the severe Holy Trinity Appearing to Sts. Peter and Paul in the parish church of Roncegno.

In 1782 Guardi was commissioned by the Venetian government six canvases to celebrate the visit of the Russian Archdukes in the city, of which only two remain, and two others for that of Pope Pius VI. On September 12 of that year he was admitted to the Fine Art Academy of Venice.

Guardi died at Campiello de la Madona in Cannaregio (Venice) in 1793. More Francesco Lazzaro Guardi

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, And visit my Boards on Pinterest

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01 Painting of the Canals of Venice by the artists of their time, with foot notes. #61

Guglielmo Ciardi, 1842 - 1917, ITALIAN

A VIEW OF ST MARKS BASIN WITH THE PUNTA DELLA DOGANA

Oil on board

62 by 102cm., 24½ by 40in.

Private collection

Having trained in Venice, in 1868 Ciardi left for Florence where, with the help of Federico Zandomeneghi and Telemaco Signorini, he was admitted to the Caffé Michelangelo and became acquainted with the Macchiaioli. It was this experience that expanded his horizons beyond the teachings of the Accademia and led him to develop a more modern style.

Some of the key monuments of La Serenissima are visible in the distance, the Campanile of San Giorgio Maggiore and the Basilica of Santa Maria della Salute to the left and the Campanile di San Marco towards the centre of the composition. The peacefulness and stillness of this view, along with the bright warm colours are in clear Venetian tradition. However, Ciardi focuses on the description of light, of water and its reflections, rethinking the typical venetian vedute into lyrical landscapes.

Ciardi was a famous and prolific artist during his lifetime. He exhibited in numerous cities including at the Venice Biennale, at the International Exposition in Munich in 1884, in London and Glasgow. More this painting

Guglielmo Ciardi (13 September 1842 – 5 October 1917) was an Italian painter. He was born in Venice, the son of an official of the Austrian government. Ciardi enrolled in 1861 at the Venice Academy of Fine Arts, where he studied perspective with Federico Moja and landscape and seascape with Domenico Bresolin, taking over the latter’s teaching post in 1894. He went to Florence in 1868 and formed friendships with Giovanni Costa and the Macchiaioli painters. After spending some time in the countryside around Rome, he then arrived in Naples and came into contact with Filippo Palizzi and the artists of the Resina School. On his return to Venice the following year, he resumed his regular participation in the exhibitions of the Academy and the Società Promotrice di Belle Arti. Works were also sent to exhibitions in Milan, Turin, Genoa, Florence and Naples in the 1870s and 1880s. The following decade saw participation in the Milan Triennale, the Turin Exhibition of 1898 and the Venice Biennale from 1895 to 1914, with a solo show in 1909. Views of the Venetian lagoon and the countryside around Treviso were accompanied by mountain landscapes painted during his numerous stays in towns in Veneto, Trentino and Lombardy. Awarded a gold medal in 1915 at the San Francisco Exhibition, where the participants included his children Beppe and Emma, he was struck down by paralysis and died two years later. More on Guglielmo Ciardi

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, And visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

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01 Painting of the Canals of Venice, with foot notes. #60

Master of the Langmatt Foundation Views, possibly Apollonio Domenichini (1715–1770)

Venice, view of the Fondamenta Nuove from the island of San Michele with the Ospedale and the church of San Lazzaro dei Mendicanti as well as the Canale Fondamento Nuovo and the Ponte dei Mendicanti, c. 1770

 The church of San Lazzaro dei Mendicanti

Detail

San Lazzaro dei Mendicanti is an ancient church in the sestiere of Castello, Venice, with a facade facing a Rio of the same name. It now serves as the chapel of the Civic Hospital of Venice.

By 1224, a hospital for lepers, dedicated to St Lazarus patron saint of those afflicted with the disease, was found adjacent to the church of San Trovaso in the sestiere of Dorsoduro. In 1262, a Leper Colony was quarantined to an island in the Lagoon, then called Isola di San Lazzaro.

In 1500, funds left over after the construction of the Basilica of Santi Giovanni e Paolo, were allocated to build an adjacent leper Hospital of San Lazaro. It was one of the four main hospitals (Ospedali Maggiori) in Venice. The term Mendicanti could be derived from two sources: first in 1601, the Mendicant Friars commissioned the building of this churchi. Second, the hospital appears to have served as a shelter for beggars (mendicanti), as well as lepers.

The father of Antonio Vivaldi taught violin at the music school here from 1689 to 1693. Like the Ospedale della Pietà, it took in abandoned girls who studied music and were trained to sing and play. The church still has a metal grille behind which the orphan girls (figlie del coro in Italian) sang.

For this church, the composer Simon Mayr wrote the oratorio Sisara (based on story of Sisera). More on San Lazzaro dei Mendicanti

Apollonio Domenichini, alternatively referred to as the Maestro della Fondazione Langmatt, or Menichini or il Menichino (Venice, 1715 - c.1770) was an Italian painter of vedute, active in Venice, Italy, between 1740 and 1770.

He was a pupil of Luca Carlevarijs and Johan Richter. He is best known for his pictorial representations of views of Venice and its surroundings. His name is recorded in the records of the fraglia or guild of Venetian painters in 1757, and it often appears as the painter of many works sent by the art dealer Giovanni Maria Sasso to the English minister John Strange in the second half of the eighteenth century. His name was proposed as the "master of the Langmatt Foundation" name from the series of thirteen vedute owned by the Langmatt Foundation in Baden near Zurich. More on Apollonio Domenichini

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, and The Canals of Venice

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

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