01 Painting of the Canals of Venice, with foot notes. #77

Federico del Campo, (Peruvian, 1837-1927)

A View of The Scuola Grande di San Marco, Venice 

Watercolour

40 x 26cm (15 3/4 x 10 1/4in)

Private collection

The Scuola Grande di San Marco is a building in Venice. It was originally the home to one of the Scuole Grandi of Venice, or six major confraternities, but is now the city's hospital. It faces the Campo San Giovanni e Paolo, one of the largest squares in the city.

The edifice was built by the Confraternity of San Marco in 1260 to act as its seat. In 1485, however, it was destroyed by a large fire, and rebuilt in the following twenty years. While decorated with the polished marble elements of Renaissance classicism, the proliferation of arches and niches adds a retrogressive Byzantine flavor, an architectural feature of many conservative Venetian styles. One of the most notable aspects of the façade is the use of trompe-l'œil archways and portals on the ground floor, all executed in different types of marble.

Jacopo Tintoretto furnished the Scuola with three paintings Miracle of the Slave (also known as The Miracle of St. Mark, 1548), St Mark's Body Brought to Venice, painted between 1562 and 1566, both paintings are currently housed in the Gallerie dell'Accademia in Venice, and Finding of the body of St Mark also painted between 1562 and 1566, an now held in the Pinacoteca di Brera in Milan. More on The Scuola Grande di San Marco

Federico del Campo (1837-1923) was a Peruvian painter who was active in Venice where he was one of the leading vedute painters of the 19th century. Del Campo was born in Lima and left his native Peru at a young age. Nothing is known with certainty about his early studies in Peru. He studied at Madrid's Real Academia de Bellas Artes de San Fernando (Royal Academy of Fine Arts of San Fernando) in Madrid from around 1865. Here he established a friendship with Lorenzo Valles, a history painter. Del Campo subsequently travelled to Italy and painted in Naples, Capri, Rome, Assisi and Venice. During a visit to France he studied new artistic developments in Paris. From 1880, he exhibited works at the annual Salon van de Société des Artistes Français. In 1880 he established himself in Venice.

Here there already was a seizable community of emigré artists, such as Antonietta Brandeis, and the Spanish painters Martín Rico y Ortega, Mariano Fortuny and Rafael Senet. He became good friends with Martín Rico. The two artists worked sometimes together painting the Venetian scenes that were popular with the increasing number of visitors to that city. They responded thus to the large international market for their city views of Venice. Demand for del Campo's views was so strong, that he painted several views multiple times.

Particularly English tourists were taken by del Campo’s vedute of Venice. This was probably the reason why he moved to London in 1893 where he worked for a clientele of aristocrats and successful merchants. He was represented by art dealer Arthur Tooth who was able to organize a special exhibition of his work in Chicago during the World's Columbian Exposition of 1893. This success likely ensured del Campo’s comfortable life style. Little is known about his last two decades but it is likely that he died in London in 1923. More on Federico del Campo

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