The Canals of Venice

01 Painting of the Canals of Venice, with foot notes. #75

Martín Rico y Ortega, 1833 - 1908, SPANISH

VENETIAN CANAL, SAN VIDAL IN THE DISTANCE

Oil on canvas

28 1/4 by 18 5/8 in., 71.8 by 47.3

Private collection

San Vidal is a former church, and now an event and concert hall located at one end of the Campo Santo Stefano in the Sestiere of San Marco, where it leads into the campiello San Vidal, and from there to the Ponte dell'Accademia that spans the Grand Canal and connects to the Sestiere of Dorsoduro, Venice, Italy.

The church at the site was erected in the year 1084 by Doge Vitale Falier. The facade (1734–37), designed by Andrea Tirali, is sculpted portraits of the Doge Carlo Contarini and his wife Paolina.

At present in 2018, the church is deconsecrated, and the chamber music group Interpreti Veneziani performs concerts at the church. More on San Vidal

Martín Rico y Ortega (12 November 1833, El Escorial – 13 April 1908, Venice, Italy) was a Spanish painter of landscapes and cityscapes. Rico was one of the most important artists of the second half of the nineteenth century in his native country, and enjoyed wide international recognition.

Rico was born in Madrid and received his earliest formal training at the city’s Real Academia de Bellas Artes de San Fernando, where he studied under Jenaro Pérez Villaamil. In 1860, having been awarded a government-sponsored scholarship, Rico moved to Paris to continue his studies.

His landscapes depict the French and Swiss countryside in a fully accomplished Realist style. Toward the end of 1870, due to political and social unrest caused by the outbreak of the Franco-Prussian War, Rico decided to leave France and return to his native Spain.

Rico moved to the southern city of Granada, joining Fortuny and his wife Cecilia, as well as the painter Ricardo de Madrazo. The three artists worked closely during this period, with the styles of Rico and Fortuny overlapping so much that their watercolors—a specialty for both artists—were often confused for one another. It was during this time that, through Fortuny’s influence, Rico’s paintings began to reveal a newfound sense of luminosity and color. His time in Andalucía was, according to his memoirs, one of his happiest, and also one of his most artistically productive periods. More on Martín Rico y Ortega

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02 Paintings of the Canals of Venice, Emile Bernard's On a bridge in Venice , with foot notes. #74

Emile BERNARD, 1868 - 1941

On a bridge in Venice , c. 1903

Oil on canvas

177 x 163 cm

Private collection

In this large canvas, Bernard combines an almost life-size representation of Venetians in the foreground, with the evocation of the City of the Doges in the background. The airy elegance of the Veronese colors of the women and children dressed in bright colors circulating on the bridgea. The architectural background is almost monochromatic, a kind of silvery blue. The children balance the sculptural silhouettes of the Venetians: a boy gracefully abandons himself to a gentle reverie while a little girl, near the right edge of the painting, seems completely absorbed in the contemplation of her doll. More on this painting

Emile BERNARD, 1868 - 1941

Two Venetians on the Salute Bridge, c. 1923

Oil on canvas

h: 119.50 w: 98.50 cm

Private collection

Santa Maria della Salute (English: Saint Mary of Health), 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.

In 1630, Venice experienced an unusually devastating outbreak of the plague. As a votive offering for the city's deliverance from the pestilence, the Republic of Venice vowed to build and dedicate a church to Our Lady of Health (or of Deliverance, Italian: Salute). The church was designed in the then fashionable baroque style by Baldassare Longhena. Construction began in 1631. Most of the objects of art housed in the church bear references to the Black Death.

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 the Venetian artist Francesco Guardi. More on Santa Maria della Salute

Émile Henri Bernard (28 April 1868 – 16 April 1941) was a French Post-Impressionist painter and writer, who had artistic friendships with Vincent van Gogh, Paul Gauguin and Eugène Boch, and at a later time, Paul Cézanne. Most of his notable work was accomplished at a young age, in the years 1886 through 1897. He is also associated with Cloisonnism and Synthetism, two late 19th-century art movements. Less known is Bernard's literary work, comprising plays, poetry, and art criticism as well as art historical statements that contain first hand information on the crucial period of modern art to which Bernard had contributed. More on Émile Henri Bernard

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01 Painting of the Canals of Venice, with foot notes. #73

Sir Muirhead Bone, (SCOTTISH 1876-1953)

MIDNIGHT IN VENICE

Coloured chalks

52cm x 32cm (20.5in x 12.5in)

Private collection

Sir Muirhead Bone, (born March 23, 1876, Glasgow, Scotland—died October 21, 1953, Ferry Hinksey, Oxford, England), Scottish artist who is best known as an etcher and drypoint engraver of architectural subjects.

Bone first studied architecture and then art at the Glasgow School of Art. Attracted to the picturesque aspect of buildings, he began to depict views of his native town of Glasgow, among them Portfolio (1899), a series of etchings, and Glasgow: Fifty Drawings (1911). He generally worked in drypoint or, as a draftsman, he used pencil, charcoal, and sepia. In 1901 he moved to London, where a 1903 exhibition of his works established his fame. Throughout his career, Bone focused primarily on architectural and landscape subjects, sometimes depicting locations from his foreign travels.

In 1936 Bone published Old Spain, a popular two-volume collection of watercolours and drawings accompanied by a text by his wife. During World Wars I and II he served as official artist with the British forces. He was knighted in 1937. More on Sir Muirhead Bone

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01 Painting; the Canals of Venice, with foot notes. #72

John Randall Bratby R.A. (BRITISH 1928-1992)

VENICE WASHING, c. 1988

Oil on canvas

122cm x 92cm (47.5in x 35.8in)

Private collection

John Randall Bratby RA (19 July 1928 – 20 July 1992). Despite inauspicious beginnings at Kingston School of Art (which he left upon failing an intermediate exam in arts and crafts), John Bratby's enormous artistic potential soon earned him a scholarship to the Royal College of Art, and would see him become one of the major, and most colourful, figures in twentieth century British art. Originally drawn to Neo-Romanticism, in the post-war years Bratby would become a key exponent of the Kitchen Sink Movement, representing a dramatic shift towards realism and a sharp focus on the details of everyday existence, coupled with an angry sense of social inequality.

Bratby's work was always suffused with intense colour, and this, along with the less specifically working-class setting of his paintings, distinguished his art from that of his contemporaries, though collectively they would represent Britain in the Venice Biennale of 1956. Although initially left uninspired by Italy when he visited it on a travelling scholarship, after the tumultous years of the 1950's in which he was decried and celebrated in equal measure by the British media, Italy, and Venice in particular, would prove an enduring fascination for Bratby.

He would travel throughout the eighties, creating works such as this painting, typical of his oeuvre in its thickly-applied and vibrant-toned paint, and in its celebration, not of the architectural glories of Venice, but rather the somewhat more quotidien detail of its residents' washing stretching over a canal to dry. More on John Randall Bratby

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01 Painting of the Canals of Venice, with foot notes. #66

Thomas Bush Hardy

Santa Maria De La Salute, Venice, c. 1887

Watercolour heightened with bodycolour

58.4 x 88.9cm (23 x 35in)

Private Collection

Santa Maria della Salute (English: Saint Mary of Health), 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.

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

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, with footnotes, #70

Ludolfs Liberts, Latvian, 1895-1959

Carnival, Venice

Oil on canvas

30 1/2 x 25 3/8 inches (77.5 x 64.5 cm)

Private Collection

The Carnival of Venice is an annual festival. The Carnival ends with the Christian celebration of Lent, forty days before Easter, the day before Ash Wednesday. The festival is world famous for its elaborate masks.

Ludolfs Liberts, 1895-1959, Latvian, was born in Tirza, Latvia in 1895. He studied art in Moscow and the Kazan Art School. He was featured in the Latvian-State organized traveling exhibition in Europe that appeared in several capitals. He also exhibited in France, Belgium, Germany and Sweden. He was awarded the Latvian Cultural Fund in 1924 and 1927 as well as gold medals at exhibitions in Barcelona and Paris. His art consists of portraits and landscapes, and was a highly regarded theater decorator in his native Latvia. In Sweden, he painted mostly cityscapes from Stockholm, Gothenburg and Malmö. Liberts is represented at museums in Latvia, France, Belgium, Finland, Russia and the costume drawings at the National Museum. He died in New York on March 11, 1959. More on Ludolfs Liberts

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, with foot notes. #69

Attributed to Antoine Bouvard/ Marc Aldine, (1875-1957)
Venice
Oil on canvas
46 x 55 cm
Private collection

Antoine Bouvard, St. Jean-de-Bournay, 1870 - 1956 was a French landscape artist who notably often painted under the pseudonym Marc Aldine. Bouvard remains best known for his renderings of Venetian canal scenes, painted in warm tones and a hazy light that often accompanies the setting of the sun. A typical work is A Gondolier Before a Venetian Bridge, depicting the grand canal of the famous Italian city in a realist style that remained popular with tourists throughout his career. He was notably influenced by the French painter Félix Ziem, who was also popular for his poetic depictions of maritime scenes and port cities. Bouvard was born in 1870 in St. Jean-de-Bournay in L'Isere, France, and went on to study at the Academy of Beaux-Arts in Paris, befriending the French architect Constant-Dufeux who helped shape his career and aesthetic. He eventually became the director of architectural services for the Seine in tandem with his painting career, and is accredited with the construction of the Bourse du Travail in Paris. Though the artist remained based in Paris, he traveled frequently to Italy to paint Venice from observation, preferring to sell his work through dealers rather than having a public life. His son, Noel Bouvard, followed in his footsteps to become a landscape painter in a style similar to his father’s. The senior Bouvard died in 1956. More on Antoine Bouvard

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. #68

Jules Bastien-Lepage, (1848-1884)

Venise : la nuit sur la lagune

RMN-Grand Palais (musée Magnin) / René-Gabriel Ojéda

Here, the painter produces a highly synthetic painting with great economy of means. An analytical approach and feeling for detail bring it closer to Naturalism. Jeanne Magnin speaks of a “symphony in blue where the artist has not sought to create an effect, but has expressed a personal impression of his only trip to Venice, undertaken in 1880, when he was already suffering the early stages of the illness that would lead to his death. His heightened awareness conveys the emotion that the magical blue night sky on the blue sea aroused in him; the unbroken line of small islands is silhouetted between the sea and the sky, where the clouds are blown along by the sea breeze, obscuring and revealing the silver stars. The very modern choice to move towards monochrome, and the differentiation of planes that soften the central motif set further back, was probably a result of Bastien-Lepage’s visit to the Grosvenor Gallery where, in July 1881, the artist Whistler was exhibiting several works inspired by Venice. More la nuit sur la lagune

Jules Bastien-Lepage (1 November 1848 – 10 December 1884) was a French painter closely associated with the beginning of naturalism, an artistic style that emerged from the later phase of the Realist movement. He was born in the village of Damvillers, Meuse, and spent his childhood there. Bastien took an early liking to drawing, and his parents fostered his creativity by buying prints of paintings for him to copy.

Jules's first formal training was at Verdun, and prompted by a love of art he went to Paris in 1867, where he was admitted to the École des Beaux-arts, working under Cabanel. He was awarded first place for drawing but spent most of his time working alone, only occasionally appearing in class. During the Franco-Prussian war in 1870, Bastien fought and was wounded. After the war, he returned home to paint the villagers and recover from his wound. In 1873 he painted his grandfather in the garden, a work that would bring the artist his first success at the Paris Salon.

His initial success was confirmed in 1875 by the First Communion, a picture of a little girl minutely worked up. The last picture, Haymaking (Les Foins), now in the Musée d'Orsay, was widely praised by critics and the public alike. It secured his status as one of the first painters in the Naturalist school.

Between 1880 and 1883 he traveled in Italy. The artist, long ailing, had tried in vain to re-establish his health in Algiers. He died in Paris in 1884, when planning a new series of rural subjects. More Jules Bastien-Lepage

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01 Painting of the Canals of Venice by the artists of their time, with foot notes. #67

Edward William Cooke

Sunset on the Lagune of Venice

San Giorgio in Alga and the Euganean Hills beyond, c. 1857

Oil on paper laid on canvas

11 ½ x 16 ¾ in. (29.2 x 42.5 cm.)

Private Collection

The Venetian Lagoon (Łaguna de Venesia) is an enclosed bay of the Adriatic Sea, in northern Italy, in which the city of Venice is situated.

The Lagoon of Venice is the most important survivor of a system of estuarine lagoons that in Roman times extended from Ravenna north to Trieste. In the sixth century, the Lagoon gave security to Romanised people fleeing invaders (mostly the Huns). Later, it provided naturally protected conditions for the growth of the Venetian Republic and its maritime empire. It still provides a base for a seaport, the Venetian Arsenal, and for fishing, as well as a limited amount of hunting and the newer industry of fish farming. More on The Venetian Lagoon (Łaguna de Venesia)

Edward William Cooke, R.A., F.R.S., F.Z.S., F.S.A., F.G.S. (27 March 1811 – 4 January 1880) was an English landscape and marine painter, and gardener. Cooke was born in Pentonville, London. He was raised in the company of artists. He was a precocious draughtsman and a skilled engraver from an early age, displayed an equal preference for marine subjects and published his "Shipping and Craft" – a series of accomplished engravings – when he was 18, in 1829. Cooke began painting in oils in 1833, and first exhibited at the Royal Academy and British Institution in 1835, by which time his style was essentially formed.

He went on to travel and paint with great industry at home and abroad, indulging his love of the 17th-century Dutch marine artists with a visit to the Netherlands in 1837. He returned regularly over the next 23 years, studying the effects of the coastal landscape and light, as well as the works of the country's Old Masters, resulting in highly successful paintings. He went on to travel in Scandinavia, Spain, North Africa and, above all, to Venice. In 1858, he was elected into the National Academy of Design as an Honorary Academician. . More Edward William Cooke

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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

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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

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