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(active between the end of the 1800s and the beginning of the 1900s)
Cannaregio from the bridge of the three arches to Palazzo Surian Bellotto
Oil on canvas, cm. 90.2 x 119.2 - unsigned
Size with frame, cm. 105 x 136 x 6 approx.
NOTES: Unsigned work. Publication of the catalog of works from the Intermidiart collection. Certificate of Lawful Origin. Work with gilded frame (defects):
We propose a spectacular Venetian view depicting the Cannaregio from the bridge of the three arches at Palazzo Surian Bellotto in Venice, one of the most evocative views of the fantastic Lagoon City.
The extraordinary pictorial quality, evident both in the drafting of the architecture and in the creation of figures and boats, immediately leads us to a very talented author - active in the last century - who looks at the production of the great Venetian landscape painters of the eighteenth century such as Antonio Canal "il Canaletto ", and more precisely to Francesco Guardi. The work, in fact, influenced by the stylistic and compositional examples of Francesco Guardi (Venice, 1712 - 1793), appears splendidly executed and of good quality and turns out to be a very interesting testimony of ancient Venice portrayed from one of the most famous and extraordinary views of the city. In the nineteenth and twentieth centuries, some anonymous painters tried their hand at the art of "copying" the great masters of the past. One of these was Canaletto, followed by his nephew Bernardo & Francesco Bellotto, Michele Marieschi and Francesco Guardi, even if his photographic painting - by the master Canaletto - remains inimitable. The painter who performed this work obviously did not want to refer to the master's technique, but he managed with talent to paint this famous view of Venice making us rediscover it in one of the beautiful dawns on the Lagoon. The splendid panoramic view of the canal, taken from a perspective point very close to the Tre Archi bridge, was created by Francesco Guardi and taken up by other successful successors to this day.
This image, in fact, refers to the original of the view “Cannaregio from the bridge of the three arches at Palazzo Surian Bellotto”, made with oil on canvas technique, measuring 48 x 74 cm. and is kept in the National Gallery of Art in Washington. In the original work, the silvery chromatic draft of the previous compositions is replaced with another one with a higher color rendering, especially as regards the atmosphere. As for the chronology, art history scholars hypothesize the period relating to 1765-75.
Francesco Guardi – considered the last great Venetian landscape painter – dedicated himself to the veduta only starting from the 1950s. The nobleman Pietro Grandenigo in his Notatori (1764) defines Guardi as a good Scholar of Canaletto, not in the literary sense, but rather in the meaning that in his early days Francesco was mainly inspired by the models of the famous artist in this specific field. Francesco's Canalettian phase, in fact, was not of long duration: already in the views referable to the early Sixties, in fact, the signs of a change of course appear, above all evident in the lesser attention paid by the painter in the description of the architectures and in the use of an absolutely personal colourism, tending towards warm tones, while the specks become more and more generic, almost standardized in the typical "salient" handwriting.
The painting considered here is characterized by a perspective approach almost identical to that of the museum versions. The similarities extend to the boats, the figures and the general chromatic affinity, despite the different dimensions. The view, characterized by a good executive level, is attributable to a valid follower of Francesco Guardi - active between the end of the nineteenth century and the beginning of the twentieth century - who was able to render with great skill the characteristics of the style and atmosphere of the preserved views. in museums. The well-known Venetian artist, in fact, can be traced back to the illustrative invention, the realization of the wide skies furrowed by clouds: these are aspects that recall precise Guardian stylistic features, however, the descriptive rendering, free and vibrant in the details, the loose chromatic drafting, recall the great Canaletto.
Regarding its state of conservation, the canvas is in fairly good general condition, the painted surface is in patina. There are no conservative problems. The measures of the canvas are cm. 90.2 x 119.2. The work is framed in a gilded frame, and therefore is sold with the frame (the measurements of the frame are approx. 105 x 136 x 6 cm, defects). "The frame shown in the photos above was added to the artwork by the seller or a third party. The frame is provided to you at no additional cost so that it is ready to display as soon as it arrives. The frame is included by way of title. courtesy and is not considered an integral part of the artwork. Therefore, any potential damage to the frame that does not affect the artwork itself will not be accepted as a valid reason to open a claim or request cancellation of the order . "
Provenance: Coll. private
Publication:
? Unreleased;
? The Myths and the Territory in Sicily with a thousand cultures. UNPUBLISHED QUADRERIA general catalog of paintings from the collection of the cycle "Myths and the territory", Publisher Lab_04, Marsala, (in press 2022).
We also guarantee accurate packaging with external wooden crate and bubble wrap / cardboard / internal polystyrene (packaging cost approximately € 130.00) and tracked shipping (€ 120.00 Italy). For export, the work is subject to a request for a Certificate of Free Movement (European Community) or Export Certificate (Extra-Community Transport), at the export office (Superintendency of the territory) with the times and costs incurred ( € 500 / € 1,000, all included: shipping, packaging and particular exports).
The shipment could be delayed by a few days/weeks for logistical and administrative reasons. 67566825
