The Canals of Venice: Canals of Venice

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01 Paintings of the Canals of Venice by the artists of their time, with foot notes. #37

Antonio Reyna, 1859 - 1937, SPANISH

ST MARK'S SQUARE, VENICE

Oil on canvas

35.5 by 75cm., 14 by 29½in.

Private collection

Piazza San Marco or St. Mark’s Square is the main public square in Venice. The Piazza is located in front of the great Byzantine church known as Basilica di San Marco. This Piazza is surrounded by shops, caffè’s and palazzi on three sides. According to local legend Napoleon called the Piazza San Marco “the drawing room of Europe.” More on Piazza San Marco

Antonio Maria De Reyna Mascau ( Coin , December 5 , 1859 - Rome , 3 February 1937) was a Spanish artist , and among the most original of his time in Italy.

From a young age he showed a predisposition and great passion for drawing, thanks to this outstanding talent, he was enrolled in painting classes at the School of Fine Arts in Malaga , where he began his artistic training.

Antonio become a celebrity in his hometown, the County Council awarded him an annuity paiment so he could expand his studies and his knowledge. This revenue allowed him to move to Italy, where he could devote himself to the study of the old masters

He chose Rome, where he visits with the most important artists of the time, and where he married the opera singer Beatrice Mililotti De Santis. Thanks to his wife's, he had important commissions from the most important families in the city.

He was considered one of the most significant authors of Venetian view painting in the nineteenth and twentieth century. He painted palaces and Venetian architecture, for this reason it was referred to as the painter of Venice using a very personal technique, which gave the works, a vibrant and intense light through a very rich palette chromatically. He has exhibited at the National Academy of Fine Arts in Paris in 1887 and also participated in 1901 and 1911 at the Great Exhibition of Rome.

Antonio Reyna, along with Senet has continued the tradition started by Martin Rico y Ortega, painters of light and color on the canvas that have set their impressions through animated pictorial images from the canals, gondolas, Venetian palaces and squares. More Reyna Mascau

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

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01 Paintings of the Canals of Venice by the artists of their time, with foot notes. #24

Antonietta Brandeis, (Czechoslovakian, 1849-1910)

The Dogana, Venezia

Oil on panel

12 x 21.4cm (4 3/4 x 8 7/16in).

Private collection

During the fifteenth century, developments in Venice’s commercial activities led to the Sea Customs House, which had previously been near the Arsenal, being transferred to the western point of Dorsoduro. The building as it stands today was completed in 1682, five years before the nearby Basilia of the Salute. Architect Giuiseppe Benoni’s work is characterised by the tower surmounted by a sculptural group representing two Atlases lifting a golden bronze sphere on the top of which is Fortune, which, by turning, indicates the direction of the wind. The building continued to be a customs house, and thus intrinsically linked to the city’s history. More on The Dogana

Antonietta Brandeis (also known as Antonie Brandeisova and Antonio Brandeis) (1848–1926), was a Czech-born Italian landscape, genre and portrait painter, as well as a painter of religious subjects for altarpieces.

She was born in Miskovice in Eastern Europe. The first bibliographical indication of Antonietta Brandeis dates from her teens, when she is mentioned as a pupil of the Czech artist Karel Javurek of Prague. After the death of Brandeis' father, her mother, Giuseppina Dravhozvall, married the Venetian Giovanni Nobile Scaramella; shortly afterward the family apparently moved to Venice.

In the 1867 registry of the Venetian Academy of Fine Arts, Brandeis is listed as being enrolled as an art student. At this time, Brandeis would have been nineteen, and one of the first females to receive academic instruction in the fine arts in Italy. In fact, the Ministry granted women the legal right to instruction in the fine arts only in 1875, by which time Brandeis had finished her education at the Academy.

During her first years of study there is evidence of Brandeis' skill-in her first year she is awarded prizes and honors in Perspective and Life Drawing. Brandeis’ continuing excellence and diligence in her artistic studies during the five years she spends at the Academy is attested to in the lists of prize-winning students. More on Antonietta Brandeis

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01 Paintings of the Canals of Venice by the artists of their time, with foot notes. #23

Antonietta Brandeis (Czechoslovakian, 1849-1910)

Palazzo Albrizzi, Venezia

Oil on panel

46.2 x 27.3cm (18 3/16 x 10 3/4in).

Private collection

Palazzo Albrizzi (or Palazzo Bonomo Albrizzi ) is a palace in Venice , located in the San Polo district , near the Ponte delle Tette and not far from Campo San Polo and Sant'Aponal .

Before being the historic residence of the Albrizzi family , the palace had been built by the Bonomo family at the end of the 16th century . A typical sixteenth-century manor house, the palace has been particularly well preserved in its original architectural features, becoming the home of the noble Venetian Albrizzi family .

Palazzo Albrizzi is articulated on three levels, with mezzanine and mezzanine in the attic. It has two main facades, one on Campiello Albrizzi and one on the stream. Both are centrally characterized to the two noble floors by overlapping serliane and by four single- lancet windows in stone frame. More on Palazzo Albrizzi

Antonietta Brandeis (also known as Antonie Brandeisova and Antonio Brandeis) (1848–1926), was a Czech-born Italian landscape, genre and portrait painter, as well as a painter of religious subjects for altarpieces.

She was born in Miskovice in Eastern Europe. The first bibliographical indication of Antonietta Brandeis dates from her teens, when she is mentioned as a pupil of the Czech artist Karel Javurek of Prague. After the death of Brandeis' father, her mother, Giuseppina Dravhozvall, married the Venetian Giovanni Nobile Scaramella; shortly afterward the family apparently moved to Venice.

In the 1867 registry of the Venetian Academy of Fine Arts, Brandeis is listed as being enrolled as an art student. At this time, Brandeis would have been nineteen, and one of the first females to receive academic instruction in the fine arts in Italy. In fact, the Ministry granted women the legal right to instruction in the fine arts only in 1875, by which time Brandeis had finished her education at the Academy.

During her first years of study there is evidence of Brandeis' skill-in her first year she is awarded prizes and honors in Perspective and Life Drawing. Brandeis’ continuing excellence and diligence in her artistic studies during the five years she spends at the Academy is attested to in the lists of prize-winning students. More on Antonietta Brandeis

01 Paintings of the Canals of Venice by the artists of their time, with foot notes. #19

Richard Price (British, born 1962)

Santa Maria Formosa

Oil on canvas board

30.5 x 40.5cm (12 x 15 15/16in).

Private collection

Santa Maria Formosa is a church in Venice, northern Italy. It was erected in 1492 under the design by Renaissance architect Mauro Codussi. It lies on the site of a former church dating from the 7th century, which, according to tradition, was one of the eight founded by San Magno, bishop of Oderzo. The name "formosa" relates to an alleged appearance of the Holy Virgin disguised as a voluptuous woman. More on Santa Maria Formosa

Richard Price (British, born 1962) is a member of the Royal Institute of Oil Painters and sells his work internationally. He has exhibited at the Royal Academy of Arts and the Royal College of Arts. Richard is Artist in Residence for Jubilee Year at the Hurlingham Club.

Richard’s work is concerned with light and atmosphere. While some of his work is done in the studio, Richard is predominantly an ‘en plein air’ painter and most of his work is therefore painted immediately in front of his subject.

The challenge of this type of work is in being able to rapidly analyze colour and tone at the same time as capturing the constantly moving drama of the environment. More on Richard Price

01 Paintings of the Canals of Venice by the artists of their time, with foot notes. #21

Bernard Dunstan R.A. (British, 1920-2017)

'The Mirror, Venice', c. 1986

Oil on canvas

69 x 73cm (27 3/16 x 28 3/4in).

Private collection

Bernard Dunstan RA (19 January 1920 – 20 August 2017) was a British artist, teacher, and author, best known for his studies of figures in interiors and landscapes. At the time of his death, he was the longest serving Royal Academician.

Dunstan was born in Teddington, Middlesex, in 1920. He studied at Byam Shaw School of Art in 1939, then at the Slade School of Fine Art in London from 1939 to 1941. In 1947 he was elected a member of the New English Art Club, and was president of the Royal West of England Academy from 1979 to 1984. In 1968 he was made a full member of the Royal Academy.

Dunstan taught at the Royal West of England Academy in Bristol from 1946 to 1949, the Camberwell School of Art from 1950 to 1964, the Byam Shaw School from 1953 to 1974, the Ravensbourne Art College (now the Ravensbourne College of Design and Communication) from 1959 to 1964, and City and Guilds of London Art School from 1964 to 1969.

Artists whose influence inform his painting include Renoir, Bonnard, Vuillard, Walter Sickert, and Philip Wilson Steer.

His works are represented in the National Portrait Gallery, the Royal Collection, Windsor, and the Museum of London. He has written a number of books on painting, including Painting Methods of the Impressionists (1976).

He died on 20 August 2017, aged 97. More on Bernard Dunstan

01 Paintings of the Canals of Venice by the artists of their time, with foot notes. #20

Giacomo Favretto Venedig, 1849 - Venedig 1887 and collaborator

Venetian Street Scene

Watercolour,

17,5 x 25 cm

Private collection

Giacomo Favretto (August 11, 1849 – June 12, 1887) was an Italian painter, mainly depicting genre subjects in Venice, his native city.

Born in Venice into a family of humble origin, his father was a carpenter and he spent many years in the family workshop. Favretto enrolled at the Academy of Fine Arts in 1864, where he trained under Pompeo Marino Molmenti. He was said to have been discovered in a stationer's shop cutting out silhouettes to make a living. By age 30, he had lost sight in one eye.

He presented work in 1873 at the Fine Arts Exposition of the Brera Academy in Milan, where his genre painting attracted the attention of Camillo Boito. Having travelled to Paris with Guglielmo Ciardi in 1878 to take part in the Universal Exhibition, he once again presented work at the Brera in 1880, winning the Prince Umberto Prize.

The same year also saw his participation in the Esposizione Nazionale di Belle Arti in Turin with works featuring everyday life in Venice and scenes in 18th-century costume. Favretto died in Venice in 1887. More on Giacomo Favretto

01 Paintings of the Canals of Venice by the artists of their time, with foot notes. #16

Antonio Ermolao Paoletti, (1834–1912)

A Venetian beauty, c. 1912

Oil on canvas

61 x 90.5 cm

Private Collection

Antonio Ermolao Paoletti (May 8, 1834 in Venice – December 13, 1912 in Venice) was an Italian painter, mainly of Venetian genre scenes, recalling Bamboccianti life of children and women, as well as sacred fresco work for churches in the Veneto.

Antonio attended courses at the Accademia. He displayed in various exhibitions. Among his many frescoes is the main altarpiece depicting the Madonna of the Rosary with St Anthony and St Materno (1863) for the parish church of Melara. Like his father, Antonio also became a professor at the Accademia. More on Antonio Ermolao Paoletti

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01 Paintings of the Canals of Venice by the artists of their time, with foot notes. #15

Bernardo Bellotto, VENICE 1722 - 1780 WARSAW

VENICE, PIAZZA SAN MARCO LOOKING EAST TOWARDS THE BASILICA

Oil on canvas

61 x 92.7 cm.; 24 x 36 1/2 in.

Private collection

The artist trained in the studio of his uncle, Canaletto, and by the age of sixteen was producing work of such quality that it was indistinguishable from, and indeed often sold as, the work of his celebrated uncle. As is the case for most of Bellotto's early paintings, the design closely follows a work by Canaletto.

The sight of the Basilica of San Marco and the Campanile flanked by the Procuratie Vecchie and the Procuratie Nuove from the West end of the Piazza down its central axis has always been one of the quintessential Venetian views, and it is hardly surprising that the many paintings of it by Luca Carlevarijs, Canaletto, Michele Marieschi and Francesco Guardi are often among those artists’ most impressive works. Canaletto’s earliest view of it in the Museo Thyssen, Madrid, datable to circa 1723, as it shows the new pavement of the Piazza designed by Andrea Tirali in the process of being laid, has long been considered one of the great masterpieces of the painter’s first style. More on this painting

Bernardo Bellotto, (c. 1721 or 30 January 1721 – 17 November 1780) was an Italian urban landscape painter or vedutista, and printmaker in etching famous for his vedute of European cities (Dresden, Vienna, Turin and Warsaw). He was the pupil and nephew of the famous Giovanni Antonio Canal Canaletto and sometimes used the latter's illustrious name, signing himself as Bernardo Canaletto. In Germany and Poland, Bellotto called himself by his uncle's name, Canaletto.
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Bellotto's style was characterized by elaborate representation of architectural and natural vistas, and by the specific quality of each place's lighting. It is plausible that Bellotto, and other Venetian masters of vedute, may have used the camera obscura in order to achieve superior precision of urban views. More on Bernardo Bellotto

05 Paintings of the Canals of Venice by the artists of their time, with foot notes. #13

David Roberts, R.A., EDINBURGH 1796 - 1864 LONDON

VENICE, APPROACH TO THE GRAND CANAL, c. 1855

Oil on canvas

25 1/2 by 45 1/2 in.; 64.8 by 115.6 cm.

Private Collection

David Roberts RA (b Stockbridge [now a district of Edinburgh], 24 Oct. 1796; d London, 25 Nov. 1864). Scottish painter. He was apprenticed to a house painter, then worked as a scene painter for theatres in Edinburgh and Glasgow. In 1822 he settled in London and worked at the Drury Lane Theatre with his friend Clarkson Stanfield. From 1833 he travelled widely in Europe and the Mediterranean basin and made a fortune with his topographical views.

He worked in oil and watercolour and published lavishly illustrated books, among them the six-volume Views in the Holy Land, Syria, Idumea, Arabia, Egypt and Nubia (1842–9). His work can be monotonous when seen en masse, but at his best he combines bold design with precise observation. More David Roberts

John Singer Sargent, (American, born Italy, 1856-1925)

Santa Maria della Salute, c. 1904

Translucent and opaque watercolor and graphite, with graphite underdrawing

18 3/16 x 22 15/16in. (46.2 x 58.3cm)

Brooklyn Museum

Sargent’s underdrawing for the church is meticulously executed in straight ruled graphite lines, whose end points are visible at the bottoms and tops of columns. Horizontal ruled lines of the stairs are visible through the washes of the figures in the boat. In contrast, the boats and figures in the foreground have minimal underdrawing and are rendered in loose, mostly wet washes. Sargent used a sharp tool to scrape off paint and create the squiggly highlights on and around the boats. This is the largest Sargent watercolor in Brooklyn’s collection. More on this painting

Santa Maria della Salute, commonly known simply as the Salute, is a Roman Catholic church and minor basilica located at Punta della Dogana in the Dorsoduro sestiere of the city of Venice, Italy.

It stands on the narrow finger of Punta della Dogana, between the Grand Canal and the Giudecca Canal, at the Bacino di San Marco, making the church visible when entering the Piazza San Marco from the water. The Salute is part of the parish of the Gesuati and is the most recent of the so-called plague-churches.

The dome of the Salute was an important addition to the Venice skyline and soon became emblematic of the city, inspiring artists like Canaletto, J. M. W. Turner, John Singer Sargent, and Francesco Guardi. More on Santa Maria della Salute

John Singer Sargent (January 12, 1856 – April 14, 1925) was an American artist, considered the "leading portrait painter of his generation" for his evocations of Edwardian era luxury. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida.

His parents were American, but he was trained in Paris prior to moving to London. Sargent enjoyed international acclaim as a portrait painter, although not without controversy and some critical reservation; an early submission to the Paris Salon, his "Portrait of Madame X", was intended to consolidate his position as a society painter, but it resulted in scandal instead. From the beginning his work was characterized by remarkable technical facility, particularly in his ability to draw with a brush, which in later years inspired admiration as well as criticism for a supposed superficiality. His commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work, and devoted much of his energy to mural painting and working en plein air. He lived most of his life in Europe. More John Singer Sargent

John Singer Sargent, (American, born Italy, 1856-1925)

Venice in Grey Weather, c.1880 - c.1882

Oil, canvas

50.8 x 68.6 cm

Private Collection

John Singer Sargent, (American, born Italy, 1856-1925), see above

Thomas Bush Hardy, 1842 - 1897

Boats in Venice

Watercolor

26 x 20 cm.

Private collection

Thomas Bush Hardy (1842, Sheffield – 1897, Maida Vale, London) was a British marine painter and watercolourist. As a young man he travelled in the Netherlands and Italy. In 1884 Hardy was elected a Member of the Royal Society of British Artists. He exhibited with the Society and also at the Royal Academy.

His paintings feature coastal scenes in England and the Netherlands, the French Channel ports and the Venetian Lagoon.

Hardy had nine children. His son Dudley Hardy was a painter, illustrator and poster designer. His daughter Dorothy received an MBE after working as a nurse in the First World War. He died on 15 December 1897 in Maida Vale, London. More on Thomas Bush Hardy

Jacques-Louis-Jules David, 1829-1886, FRENCH
VENITIAN AT HER TOILET, c. 1860
Oil on canvas
148 by 96cm., 58¼ by 37¾in.

Private collection

Jacques-Louis-Jules David, 1829-1886, was the grandson of the immensely influential neo-classical Jacques-Louis David. Additionally, Jules David was an art historian in his own right, and among his grandfather's first biographers. He entered the Ecole des Beaux-Arts in 1849 where he studied with Cogniet and Picot. More on Jacques-Louis-Jules David

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05 Paintings of the Canals of Venice by the artists of their time, with foot notes. #12

Antoine Bouvard, (French, 1870-1956)

Venetian gondolier and canal bridge

Oil on canvas

50.5 x 66cm (19 7/8 x 26in)

Private collection

Antoine Bouvard, St. Jean-de-Bournay, 1870 - 1956 was a French landscape painter. He studied architecture at the École des Beaux-Arts in Paris under Constant-Dufeus and became director of a. government agency of architecture. In his paintings he specialized in views of Venice. More on Antoine Bouvard

Antoine Bouvard, (French, 1870-1956)

Venetian bridge with gondola

Oil on canvas

65 x 50.5cm (25 9/16 x 19 7/8in)

Private collection

Antoine Bouvard (French, 1870-1956), see above

Noel Georges Bouvard, (French, 1912-1975)

Venetian gondoliers with the Campanile di San Marco in the distance

Oil on canvas

48.9 x 63.5cm (19 1/4 x 25in).

Private collection

Campanile di San Marco is the bell tower of St Mark's Basilica in Venice, Italy, located in the Piazza San Marco. It is one of the most recognizable symbols of the city.

The tower stands alone in a corner of St Mark's Square, near the front of the basilica. It has a simple form, the bulk of which is a fluted brick square shaft, 12 metres (39 ft) wide on each side and 50 metres (160 ft) tall, above which is a loggia surrounding the belfry, housing five bells. The belfry is topped by a cube, alternate faces of which show the Lion of St. Mark and the female representation of Venice (la Giustizia: Justice). The tower is capped by a pyramidal spire, at the top of which sits a golden weathervane in the form of the archangel Gabriel. The campanile reached its present form in 1514. The current tower was reconstructed in its present form in 1912 after the collapse of 1902. More on Campanile di San Marco

Bouvard Noel George, 1912-1972, was born on the 25 December, 1912 in Paris, the son of Eloi Noel Beraud, better known as Marc Aldine or Antoine Bouvard. He was a recognised artist of architectural and landscape paintings, however, like his father he became best known for his works of Venetian canals. After studying at Ecole des Beaux Artists he became very influenced by his father and they worked together for many years from 1935 to 1950. Like his father, he often went to Venice to prepare his sketches and drafts from which he was able to create the flowing landscapes and harmonious arrangements, which made his paintings highly sought after in France as well as the UK. Bouvard places the scene carefully on the canvas with surrounding buildings reflecting in the water, and portrays the heat of the sun in its reflection against the stone surfaces. More on Bouvard Noel George

Noel Georges Bouvard, (French, 1912-1975)

Venetian canal with St Mark's Campanile beyond

Oil on canvas

50.2 x 65.4cm (19 3/4 x 25 3/4in).

Private collection

St Mark's Campanile, see above

Bouvard Noel George, 1912-1972, see above

William Logsdail, 1859-1944

FEEDING THE BIRDS OUTSIDE FLORIAN'S, ST. MARK'S SQUARE, VENICE

Oil on canvasboard

35.5 by 25.5cm., 14 by 10in

Private collection

Caffè Florian is a coffee house situated in the Procuratie Nuove of Piazza San Marco, Venice. It was established in 1720, and is the oldest coffee house in continuous operation (with Café Procope in Paris). The Caffè was patronised in its early days by notable people including Casanova, who was no doubt attracted by the fact that Caffè Florian was the only coffee house that allowed women. Later Lord Byron, Marcel Proust, and Charles Dickens were frequent visitors. It became a meeting place for people from different social classes. More on Caffè Florian

William Logsdail (25 May 1859 – 3 September 1944) was a prolific English landscape, portrait, and genre painter. He exhibited at the Royal Academy, the Royal Society of British Artists, the Grosvenor Gallery, the New Gallery (London), and others. He is notable for his realistic London and Venice scenes and his plein air style.

In the autumn of 1880, Logsdail visited Venice where he was to remain, with occasional visits to England, the Balkans, Egypt and the Middle East, until 1900. During this early period in his career, he gravitated towards architectural and subject paintings.

He also painted some sixty-nine small paintings for the Fine Art Society on the subject of the French and Italian Riviera. In 1893, Logsdail was awarded a medal for oil painting at the World's Columbian Exposition (also known as the Chicago World's Fair).

After spending two years in Taormina and Sicily, he and his family returned to England, settling in West Kensington, London. This marked the beginning of a period of portrait painting for Logsdail, who was offered so many commissions that he was able to pick and choose his sitter at will.

In 1912, he was elected as a member of the Royal Society of Portrait Painters. As his career progressed, he turned to flower studies. More on William Logsdail

05 Paintings of the Canals of Venice by the artists of their time, with foot notes. #11

Umberto Ongania, (Italian, born 1875 - 1942)

A Regatta on the Grand Canal, Venice

Oil on canvas

28 x 36cm (11 x 14 3/16in

Private collection

On the first Sunday of September takes place the Historical Regatta ("Regata Storica"), a competition between Venetian boats watched by thousands of people from the banks or from floating stands. Competitions are preceded by a historical procession ("Corteo Storico") remembering the entrance of the Queen of Cyprus Catherine Cornaro after abdication in 1489: gondoliers in costumes sail in typical 16th century boats following the Bucentaur, doge's state galley. More on the Regatta

Umberto Ongania (Venice 1867-1942) was an Italian painter, mainly of vedute of his native city. He painted both watercolors and oils. He exhibited in 1887 at Venice, La Porta della Carta, and in 1888 at Bologna, Il Palazzo Ducale di Venezia. He continued to paint until the first decades of the twentieth century.

He was one of the many illustrators who collaborated in the illustration of a book on the Basilica of San Marco, with text by Camillo Boito. More on Umberto Ongania

Marc Aldine, (French, 1870-1956)

La Riva Degli Schiavoni - Venice

Oil on canvas

38.1 x 55.9cm (15 x 22in).

Private collection

The Riva degli Schiavoni is a waterfront in Venice, Italy. There is a lively - albeit often overcrowded - promenade along the waterfront. It sits on St. Mark's Basin. It was originally built in the ninth century from dredged silt and was named for the Slavic men who brought cargo to Venice from across the Adriatic Sea. More on Riva degli Schiavoni

ANDRE BOUVARD dit MARC ALDINE, (1875-1957). Antoine Bouvard Senior, also known as Marc Aldine was born at St. Jean-de-Bournay in L'Isere. He trained as an architect and studied art and architecture at the Ecole des Beaux-Arts in Paris. He became the Director of Architectural Services for the Seine, and was responsible for the construction of the Bourse du Travail and the Boulevard Morland in Paris.

His paintings show the influence of Felix Ziem, reflecting his love of Venice in the delicacy and fluidity of his use of colour, capturing in his paintings, the warmth and beauty that he found there. Known as a painter of Venetian subjects, he worked during the early part of the 20th century, becoming one of the most prolific painters of Venetian genre from this period. Bouvard’s works are broad and confidently painted, capturing all the atmosphere and charm of one of the most beautiful cities in the world. He exhibited throughout France and Italy as well as in many provincial European galleries during his own lifetime. His popularity has continued to the present day, placing him amongst the most recognized and respected painters of Venetian subjects. More on Marc Aldine

Antoine Bouvard, (French, 1870-1956)

Looking towards the Grand Canal, Venice

Oil on canvas

65.5 x 92.5cm (25 13/16 x 36 7/16in

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

Guglielmo Ciardi, (1842 - 1917)

Canal in Venice

oil on canvas

57.5 by 101cm., 22½ by 40in.

Private collection

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

Henry Pember Smith, (American, 1854-1907)

Venice, circa 1890

Oil on canvas

25 x 35-1/2 inches (63.5 x 90.2 cm)

Private collection

Henry Pember Smith (February 20, 1854 – October 16, 1907) was an American painter, best known for his depictions of country cottages and river scenes around Lyme and East Lyme, Connecticut, and paintings of the sea and shore in New Jersey, Rhode Island, and Cape Ann to Maine.

Smith was born in Waterford, Connecticut. During the 1880s, he studied the Old Masters in Paris, Brittany, Normandy, Venice and along the English Cornish coast. He was a member of the Artists' Fund Society and the American Water Color Society, and exhibited at the National Academy of Design from 1877-1896, 1899, 1901, 1906; the Brooklyn Art Club (1878-1885, 1892); Boston Art Club (1880-1890); Pennsylvania Academy of Fine Art (1881, 1888); and the Art Institute of Chicago. Smith died of heart disease in Asbury, New Jersey. More on Henry Pember Smith

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