The Canals of Venice

01 Painting of the Canals of Venice by the artists of their time, with foot notes. #79

Umberto Lilloni (Milan, 1898–1980)

Venice, c. 1946

Oil painting on canvas

40 x 30 cm

Private collection

Umberto Lilloni (Milan, 1898–1980) was an Italian painter.

Lilloni interrupted his studies at the Brera Academy of Fine Arts in 1917 when World War I broke out. Alternating landscape with figure painting in the 1920s, he received his first official recognition with the Prince Umberto Prize in 1927. His participation in the Venice Biennale began in 1928 with the 16th Esposizione Internazionale d’Arte della Città di Venezia. Involvement with the Novecento Italiano movement led to participation in their second group show in Milan in 1929. The influence of Chiarismo can also be seen in the gradual lightening of his palette. His first solo exhibition was held at the Galleria Bardi, Milan, in the same year. While the 1930s saw increased participation in exhibitions, including the Rome Quadrenniale and the Brera exhibitions at the national level, the art world showed less interest in his painting after World War II. More on Umberto Lilloni

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01 Painting of the Canals of Venice, with footnotes. #80

Benjamin Chambers Brown, (1865-1942 Pasadena, CA)

Venice

Oil on canvas

18" H x 24" W

Private collection

Benjamin Chambers Brown (July 14, 1865 – January 19, 1942) was a California Impressionist landscape artist. He was one of their five children. He grew up in Little Rock, Arkansas. Brown was trained as a photographer. He studied at the University of Tennessee, and later at the St. Louis School of Fine Arts under Paul Harney and John Fry in 1884. He studied in Paris at the Académie Julian under Jean-Paul Laurens and Jean-Joseph Benjamin-Constant in 1890.

During his early career, Brown traveled and worked in St. Louis, Little Rock and Texas. In St. Louis, Brown taught at the St. Louis Art School. He went on to open his own school in Little Rock. He initially specialized in portraiture and still life. Upon moving to Pasadena in 1896, he began to paint landscapes. By 1905 he had become famous for his paintings. From 1909 to 1910, Brown had a studio in Mill Valley, California.

His first etchings were done in 1914. He co-founded the Print Makers of Los Angeles with his brother Howell in 1914, which later became the Los Angeles Society of Printmakers. His notable works include his impressionist landscapes of Sierra peaks and field poppies.

Brown tried to sell his artwork in New York City; however, it did not sell as well as it had in California. Instead of opening a studio in the city, he began to sign California under his own signature to show how proud he was to be a Californian, in spite of potential stigmas. More Benjamin Chambers Brown

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02 works on the Canals of Venice, with foot notes. #78

Thomas Moran, American, 1837-1926

Venice (The Splendor of Venice), c. 1899

Oil on canvas

20 x 30 1/8 inches

Private collection

Thomas Moran (February 12, 1837 – August 25, 1926) from Bolton, England was an American painter and printmaker of the Hudson River School in New York whose work often featured the Rocky Mountains. Moran and his family, wife Mary Nimmo Moran and daughter Ruth, took residence in New York where he obtained work as an artist. He was a younger brother of the noted marine artist Edward Moran, with whom he shared a studio. A talented illustrator and exquisite colorist, Thomas Moran was hired as an illustrator at Scribner's Monthly. During the late 1860s, he was appointed the chief illustrator for the magazine, a position that helped him launch his career as one of the premier painters of the American landscape, in particular, the American West.

Moran along with Albert Bierstadt, Thomas Hill, and William Keith are sometimes referred to as belonging to the Rocky Mountain School of landscape painters because of all of the Western landscapes made by this group. More on Thomas Moran

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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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01 Painting of the Canals of Venice, with foot notes. #76

José García y Ramos, Spanish, 1852–1912

Bridge of Sighs

Oil on canvas

17 7/8 × 11 1/2 in, 45.4 × 29.2 cm

Private collection

The Bridge of Sighs is an enclosed bridge made of white limestone. It has windows with stone bars, passes over the Rio di Palazzo, and connects the New Prison to the interrogation rooms in the Doge's Palace.

The view from the Bridge of Sighs was the last view of Venice that convicts saw before their imprisonment. The bridge's name, given by Lord Byron, comes from the suggestion that prisoners would sigh at their final view of beautiful Venice through the window before being taken down to their cells. In reality, the days of inquisitions and summary executions were over by the time the bridge was built. More on The Bridge of Sighs

José García Ramos ( Seville , 1852 - † Seville, April 2 , 1912 ), was a Spanish painter. Born in the city of Seville in the mid- nineteenth century. He was one of the main exponents of Andalusian costumbrista and regionalist painting of his time, and one of the best teachers of Seventh-century Seville school.

His artistic beginnings were developed between the cities of Seville and Rome, and are marked by his training in the workshop of José Jiménez Aranda and his dealings with Mariano Fortuny, whom he would meet in the Italian capital. A second stage of this artist is characterized by its luminous and colorful drawing, able to capture with skill the customs and human types of Seville where lived, sometimes for magazines such as Black and White. In his final stage, García Ramos shows his talent as a poster designer, with works made to announce events, such as the Spring Festival or some famous plays of the moment.

Part of his work is in the Museum of Fine Arts of Seville, although most of his production is divided into private collections, since his work was very tasteful of the time and managed to sell a lot of pieces.

In the Sevillian museum there are about twenty paintings, of which, and for lack of space, only about a third is usually exposed to the public. More on José García Ramos

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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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