#artist: canaletto

[about-suffering]

The Grand Canal with Santa Maria della Salute towards the Riva degli Schiavoni, 1729-1730 Canaletto [Giovanni Antonio Canal] (1697-1768)

[harmonicusmars]

The Arch of Titus, Canaletto, 1742

[pmamtraveller]

THE CLOCK TOWER IN THE PIAZZA SAN MARCO, VENICE (1730) by CANALETTO

In the painting, the clock tower in VENICE’s most famous square (PIAZZA SAN MARCO) is depicted as a detailed representation of the early 18th-century VENETIAN cityscape. CANALETTO’s painting depicts VENICE’s inhabitants (both locals and tourists) as they go about their daily activities beneath a sky of pure blue and white.

The clock tower was a recurring motif in CANALETTO’s vedute, but this is the only painting that celebrates this iconic monument to the architectural style of the early RENAISSANCE by making it the central focus of its composition.

The paintings of VENICE by CANALETTO were highly sought after by high-class tourists who, often during their so-called “GRAND TOUR” of EUROPE, were looking for romantic souvenirs of their stay in VENICE.

To be sure, CANALETTO often employed a camera obscura to achieve the most realistic and detailed architectural renderings, but this did not prevent him from embellishing his cityscapes to the ends of geometric harmony and added drama.

[harmonyarts-blog]

An Allegorical Painting of the Tomb of Lord Somers (1722-1729) Artist - Canaletto

https://harmonyartsl-5artworks.blogspot.com/2023/12/canalettos-artistry-unveiled.html Dive into the world of Canaletto's artistry! Explore the genius behind veduta mastery, innovative techniques, and unparalleled realism. A must-read for art enthusiasts and aspiring artists

#11ThuJan2024pm #2 #CanalettoMasterHA

[polish-art-tournament]

polish-art-tournament ask game

abakanowicz: do you have a favourite art installation?

beksiński: what was/is your own personal brand of teenage edgelordhood?

chełmoński: do you like spending time in the countryside?

fangor: thoughts on op-art?

grabiański: what are your favourite children's books illustrations?

jasiński: how do you feel about stormy weather?

kaja: show us your favourite poster (for anything)!

kossak: LOG OFF THE INTERNET, DON'T LOOK AT ANY REFERENCES. pencil and paper in hand. now draw a horse to the best of your skill

łempicka: if you were to plan and execute an art exhibition (and had unlimited funds and connections etc), what would be the theme and what pieces would you exhibit?

malczewski: have you ever been told you look similar to a figure in a painting? // if not: are there any paintings you wish you had been portrayed in? (be it as the main figure or a background character)

matejko: what is your favourite period in history?

nikifor: how do you feel about your home town?

stryjeńska: what is your favourite (local or other) folklore-related thing? (folk costumes, traditional songs, style of architecture, legends...)

waliszewska: tell us something about a cat you know :3

wyspiański: what sorts of creative stuff do you enjoy making? painting, writing, embroidery, doodling at the margins of your notebooks? do you mostly stick to one type of art, or is it a little bit of everything (like the absolute madman overachiever wyspiański)?

bonus two non-polish artists:

bacciarelli: favourite polish historical figure?

canaletto: how many capital cities have you visited?

[biostatprof]

Top: Canaletto painting of the waterfront in front of the Ducal Palace (large building on the left of the painting), and (bottom) my own attempt of a photo of the waterfront from a window/balcony in the Ducal Palace. So I'm looking out one of those windows in the painting on the top floor of the palace. I have better pics of other parts of Venice, but it's pretty cool to see some of our artistic better brethren's pictures of similar locations.

And no, I can't really align the two pictures very well. I have two different potential alignments, and the two alignments do not agree.

[artemlegere-art]

Capriccio: The Rialto Bridge and The Church of S. Giorgio Maggiore

Artist: Canaletto (Giovanni Antonio Canal) (Italian, 1697-1768)

Classification: Painting

Genre: Landscape Painting

Date: c. 1750

Medium: Oil on Canvas

Collection: North Carolina Museum of Art, Raleigh, NC

Trained by his father, a painter of theatrical scenery, Canaletto specialized in views of his native Venice. By the 1730s, he was one of the most successful artists in Europe, his most avid patrons being the English aristocrats who came to Venice on their ‘Grand Tours’ of Europe and commissioned painted views of the city as souvenirs. Canaletto’s precise technique helped to invest these views with the illusion of topographical accuracy. A contemporary wrote: “He paints with such accuracy and cunning that the eye is deceived and truly believes that it is reality it sees, not a painting.” However, the artist often subtly adjusted architectural details, viewpoints, and topography to create a more picturesque and harmonious work of art; on occasion, he took even greater artistic license. This painting combines in a single setting three famous landmarks from different areas of Venice: the Rialto Bridge and the Church of San Giorgio Maggiore, located on an island at the entrance to the Grand Canal. The Italian word capriccio, meaning whim or fancy, is used to describe these fanciful compositions.

[brookstonalmanac]

Birthdays 10.18

Beer Birthdays

Chris Swersey (1964)

Toshi Ishii (1967)

Phil Sides (1967)

Nick Galton-Fenzi (1979)

Five Favorite Birthdays

Boyd Dowler; Green Bay Packers WR (1937)

Forrest Gregg; Green Bay Packers T (1933)

A.J. Liebling; food writer (1904)

Thomas Love Peacock; English writer (1785)

George C. Scott; actor (1927)

Famous Birthdays

Henri Bergson; French philosopher (1865)

Chuck Berry; rock singer (1926)

Peter Boyle; actor (1935)

James Brooks; artist (1906)

Canaletto; artist (1697)

Pam Dawber; actor (1951)

Jean Jacques Regis de Cambaceres; French gourmet (1753)

Mike Ditka; Chicago Bears TE, coach (1939)

Russ Giguere; rock singer (1943)

Hans Holbein the Younger; German artist (1497)

Fannie Hurst; writer (1889)

Keith Jackson; television sportscaster (1928)

Klaus Kinski; actor (1926)

Wynton Marsalis; trumpet player (1961)

Terry McMillan; writer (1951)

Mongkut; king of Siam, Rama IV (1804)

Rick Moody; writer (1961)

Erin Moran; actor (1960)

Martina Navratilova; Czech tennis player (1956)

Laura Nyro; singer, songwriter (1947)

Anita O'Day; jazz singer (1919)

Logan Pearsall Smith; writer (1865)

Ntozake Shange; poet, playwright (1948)

Howard Shore; composer (1946)

Vincent Spano; actor (1962)

Inger Stevens; actor (1934)

D.T. Suzuki; Japanese philosopher, writer (1870)

Jean-Claude Van Damme; actor (1960)

Wendy Wasserstein; comedian (1950)

Dawn Wells; actor (1938)

[capybaraonabicycle]

For the art ask game, 3, 15 and 16?

Thank you for the ask!! I was so hoping someone would send one in :)

3. What artist do you wish people knew more about?

This is difficult because I am mostly aware of the standard artists you meet in art class - almost all of which are western men - and the most 'niche' of the ones I love would be like Georges Braques and Wassily Kandinsky and Umberto Boccioni and Edward Hopper and Canaletto and Ai Weiwei and Franz Marc - and I feel like for any one of those names I will have people at my throat for mentioning them in a sentence that includes the word 'niche'.

There are two that I can name though, that I don't know from art class and I believe they are at least somewhat niche:

There is Kent Monkman, a contemporary queer Cree artist who I was introduced to at uni. He uses a multitude of art forms (and you can check them out on his website) but I am most familiar with his paintings, especially the "Shame and Prejudice" exhibition that we looked at in class.

The exhibition features Monkman's genderqueer alter ego Miss Chief Testickle who tells Canadian history from her perspective and the paintings are, in my opinion, very clever and impactful. I analysed "The Subjugation of Truth" for class and there is a ton of subtle symbolism to drive the political message (painting in traditional settler style, putting the viewer into the position of the indigenous men, having the queen hover menacingly above it all) in the art work.

This is it:

Another really famous of the works is "Resurgence of the people" which references an old settler image with George Washington replaced by Miss Chief:

I'm not sure whether this one is the exact reference but it quotes some picture like this:

I really like Monkman's style and I think his images are very strong and often for the topic of indigenous history with settlers, the violence in them is palpable. Another impressive one would be "The Scream" :

Then I would like to mention the possibly most important artist of my childhood, Estonian-Swedish illustrator Ilon Wikland. She illustrated most of Astrid Lindgren's books and her style is just - so cozy and soft, I want to live in her art.

I feel like many people do know the books and her art, but few will know her name. So she counts :) (she's still alive btw, I had to look that up and was surprised)

15. Share a photo of your favorite contemporary artwork

I'm not sure I have one special favourite art work but this is something I saw at the documenta exhibition semi-recently and it really stuck with me. Unfortunately, I don't seem to be able to find the title, but I remember it was something similar to "deep belly breath".

(It's the blue one in the front)

It's a pretty big plastic, higher than I am tall and it is fluffy and blue and there is water in the middle. I love it mostly for looking like an alien being, but the fluffyness has a nice feel to it too (or rather 'a nice look', I obviously didn't touch it). Together with the title and the water and the dark fur on the inside, there is a sort of desperation and drowning feeling to it, softened by the fact you really want to hug it and climb into the water and be safe in your cocoon.

No idea whether any of this was intentional, but I had to stick with it for a good 10 min before being able to walk on (even though I was already tired) and I had to come back multiple times. I also had my aunt take a picture of me with the art and I am wearing a dw shirt so it's perfect :)

The work was made by someone from the art collective *foundationClass, an organisation based in Berlin who prepare students for art school. They made a bunch of cool, often political, art for the documenta

I have to say I am also particularly fond of the Möbiusship, though, that has been circulating on tumblr

16. What museum or gallery do you want to visit?

I really want to visit the Munch museum! He is one of my favourite artists and when I was in Oslo once, the museum was closed for renovation. But now it should have reopened, so I just need to get myself to Norway and reserve a full day for Munch :)

[hzaidan]

By Apollonio Facchinetti, Apollonio Domenichin, Guglielmo Ciardi, Canaletto, Bernardo Canal, Thomas Bush Hardy, Edward William Cooke, Jules BASTIEN-LEPAGE, MARC ALDINE and Ludolfs Liberts, …

Please follow link for full post

Francesco Guardi,CANALETTO,Guglielmo Ciardi,Edward William Cooke,Bernardo Canal,MARC ALDINE,Apollonio Facchinetti,Giovanni Antonio Canal,Thomas Bush Hardy,Jules Bastien-Lepage,ANDRE BOUVARD,Venice, Zaidan, Art, Artists, biography, Canals, fine art, footnotes, Gondola, History, Italy, Paintings,

15 Paintings of the Canals of Venice in the 18 & 19th Centuries, by the artists of the time, with foot notes #6

[bm2ab]

Crowd Scenes . 04 November 2024 . View of Warsaw from the Terrace of the Royal Castle . Bernardo Bellotto (1722–1780)

Artist: Bernardo Bellotto (1722–1780) Title: View of Warsaw from the Terrace of the Royal Castle Object type: painting Genre: Veduta Date: 1773 Medium: Oil on canvas Dimensions: height: 166 cm (65.3 in); width: 269 cm (105.9 in) Collection: National Museum in Warsaw Current location: 1st floor Object history before 1773: commissioned by Stanisław Augustus Poniatowski, Warsaw Notes: One of 26 vedute of Warsaw painted between 1770-80 to embellish the so-called Panorama Room (later Canaletto Room) at the Royal Castle in Warsaw.

[peakwealth]

FLEMISH LIGHT

Something to think about. (Museo Ruso, Málaga, January 2020)

Nosing around art galleries and museums in the last year or two, I have come to a conclusion so obvious I hesitate to write it down: painting is difficult and landscape painting particularly so.

While (fortunately) I found much to admire, the brutal fact remained that many painters seemed to lack the talent, the vision and technique to do what they set out to do. But couldn't.

Their terribly imperfect works fill the halls of museums all over the world.

Every morning on the way to school, I passed by the studio of Pieter Paul Rubens, one of the grand masters of Flemish art in the early 17th century, Antwerp's golden age. The studio is still there today (as is my school). Rubens' chiaroscuro portraits were dazzling but I couldn't handle the enormous allegorical canvasses on display at the cathedral, only a short distance away towards the waterfront. I would not dare to use the ugly word 'fake' but they looked both bombastic and rudimentary to me.

Perhaps this was a manifestation of my youthful anticlericalism, or ignorance, or perhaps I had come to the conclusion that the art was no good, that it was kitschy. Too many flabby cherubs with trumpets floating in mid air had emerged from the assembly line of Rubens' atelier or from his apprentices. I didn't get it.

This was confirmed later in life when I visited one museum after another filled with lacerated saints and sugary virgins, ascensions and crucifixions - I couldn't stand any of it. It was part of the curse of Christianity.

***

Overwrought religious art is one thing. There is little point in blaming the artists, they did it for a living in an age when most art was religious by definition. But more recently I have - hesitatingly - turned my eye to landscape paintings, works that have somehow been deemed good enough to hang on museum walls.

A lot can go wrong but light is often the most obvious problem. We spend our lives observing the subtleties of natural light throughout the day and from one season to the next. Our eyes are forever busy resolving fine detail, shadows and reflections. But that delicate nuance appears to be an insurmountable challenge to many landscape painters whose works are fatally overexposed, not unlike the result you get from automatic cameras.

***

Nothing overexposed here; everything picture perfect in this view of an open air market in Dresden, circa 1750, by Bernardo Bellotto, also known as Canaletto. (replica at the Pinacoteca Agnelli inside the former Fiat car factory in Lingotto, Turin, 2023)

To remind myself of the perfection achieved by Renaissance painters, I recently returned to the Kunsthistorisches Museum in Vienna. (I do not mean to say that everything at the KHM is magnificent. It too has its share of ghoulish religious art.)

How it is done. A wall filled with works by Canaletto at the KHM in Vienna. (October 2024).

To begin with, the KHM has a breathtaking collection of Canaletto's urban landscapes (vedute or views in Italian), similar to the Dresden market above. Even more celebrated is the work I specifically came to see, Jagers in de sneeuw (Hunters in the Snow), painted by Pieter Bruegel the Elder in 1565, during the mini ice age that afflicted Europe at the time.

Flanders never looked like this, the composition is pure, happy invention including the snowy cliffs and the icy peaks beyond. Nothing remotely Flemish or Dutch about it. Even the frozen ponds are a stretch. It doesn't matter, that's how Bruegel worked.

Beyond the idealized evocation of winter fun, what matters to me here is the sublime winter sky, the tepid sunshine, the ever so slightly soiled snow. It is instantly arresting, irrefutable. How Bruegel got it so right remains stunning, almost five centuries later.

I searched my memory for the January days of my youth that might have matched that hue, that shade, that chill. But all I could remember were drab cold mornings going to school.

(OK, that's it. I will refrain from writing about painting. Promised.)

[fucktheglorydays]

DOCUMENTARY | PROF. BAD TRIP - HANNO PAURA DI ME! 

Professor Bad Trip (1963 – 2006) è stato una delle voci più significative della scena underground italiana e internazionale, artista poliedrico simbolo della controcultura degli anni Ottanta e Novanta. Attivo come musicista punk, Gianluca Lerici iniziò poi la sua attività di artista visivo con lo pseudonimo Professor Bad Trip, prestando i suoi lavori al mondo musicale. Negli anni affinò una modalità espressiva che era insieme colta e popolaresca, raffinata e canagliesca, un mix di angst esistenziale e stupore bambinesco. Qui sopra trovate la versione integrale del documentario ”Hanno paura di me! Sanno che sono Punk e che vengo da Canaletto” realizzato da Biofonie.it, per commemorare i 10 anni dalla sua scomparsa. I due registi Andrea Castagna e Carmine Cicchetti, ripercorrono la vita di Gianluca, le sue passioni, il suo modo di essere, la sua musica, la sua arte, attraverso interviste, immagini di repertorio e scritti inediti. Non perdetevelo.

Professor Bad Trip (1963-2006) has been one of the most significative voice of the italian and international counterculture in the 80s and 90s. A multifaceted artist, Gianluca Lerici was active as a punk musician, then he started his activity as visual artist under the name of Professor Bad Trip, working for the musical underground scene. He developed a particular expressive technique, combining upper and lower registers, a mix of existential angst and childlike behavior. You could find on here above the complete version of ”Hanno paura di me! Sanno che sono Punk e che vengo da Canaletto” documentary. Realized by Biofonie.it, it celebrates the ten years since his death. The two directors Andrea Castagna and Carmine Cicchetti trace Gianluca’s career, his passions, his way of being, his music and art, through interviews, archive images and unpublished writings. Don’t miss it.

[fairfielduam]

Direct from the Director Late Summer 2024

We’ve had a very exciting summer at the museum! As a result of our recent AAM Museum Accreditation, this was the first summer that we had professional guards and were thus able to be open through July. Our first two summer exhibitions proved very popular with our visitors, especially Peter Anton: Just Desserts!

We welcomed 5,732 visitors to our Peter Anton and Suzanne Chamlin exhibitions in the 10 weeks between graduation and the close of the exhibitions.

We broke our one-day attendance record with over 850 visitors (serving free frozen treats at an ice cream social that day probably didn’t hurt)!

Recently we've been busy repainting the walls, planning new programs, preparing our two fall exhibitions, and installing a new group of outdoor sculpture. We can't wait to welcome you all back to campus.

The Museum is all about works on paper this fall! A pair of exhibitions will introduce you and our other visitors to a broad range of works on paper, from Old Master prints in the Bellarmine Hall Galleries to prints by contemporary BIPOC artists in the Walsh Gallery. We hope you will check out both exhibitions and all of the programs on offer.

The first exhibition, opening in the Museum’s Bellarmine Hall Galleries on September 12 and on view through December 21st, is Ink and Time: European Prints from the Wetmore Collection. Curated by Michelle DiMarzo, PhD (Assistant Professor of Art History & Visual Culture), the exhibition presents a group of woodcuts, engravings, and etchings from the late 15th through late 18th centuries, including Albrecht Dürer, Raphael, Rembrandt, and Canaletto. From familiar favorites like Dürer’s Adam and Eve and Rembrandt’s Three Trees to hidden gems like the gold-sprinkled surface of Maria Katharina Prestel’s Virtue Overcoming Vice, the show explores more than three centuries of artistic innovation on paper.

The works are part of a collection formed by Fanny S. Wetmore in the first decades of the 20th century and bequeathed to Connecticut College in 1930. This exhibition is the second in the Museum’s history to have been co-curated with Fairfield University students and has been supported by generous funding from the Samuel H. Kress Foundation.

The second exhibition, on view in the Museum’s Walsh Gallery in the Quick Center for the Arts, is Sacred Space: A Brandywine Workshop and Archives Print Exhibition. This exhibition opens on September 20th and also runs through December 21st. Sacred Space, organized by guest curator Juanita Sunday, draws on the rich history of the Brandywine Workshop and Archives, founded in Philadelphia in 1972 by artist Allan Edmunds. As of 2022, the Museum is home to a Brandywine “satellite collection” – the only such collection in Connecticut. This exhibition features works from the Museum’s own collection as well as loans from Brandywine itself.

Sacred Space encourages a deep exploration of spiritual connection, inviting viewers to reflect on the ancestral wisdom and memory passed down through generations. The exhibition serves as a portal into the interconnected realms of spirituality, time, space, memory, and culture. The artists pay homage to their forebears, drawing upon cultural traditions, rituals, and sacred practices to honor and preserve, as well as question, the invaluable heritage that shapes our identities.

In addition to the works from the Brandywine Collection, the exhibition will also feature local artists whose works are responding to the themes in Sacred Space. Artists invited by curator Juanita Sunday include Aisha Nailah, Iyaba Ibo Mandingo, Arvia Walker, and Rebecca Fowke. This exhibition is made possible by the generous support of corporate sponsor M & T Bank/Wilmington Trust.

A broad slate of programming complements both of these exhibitions, from hands-on workshops to rich public lectures, and can be explored on the museum’s website calendar at www.fairfield.edu/museum.

When you come to visit, or if you can join us for the Ink & Time festivities on September 26th, please make sure to seek out and enjoy Lauren Booth's fantastic bronze Tulip Family which has been installed on the Bellarmine Hall lawn, just below the building, on the slope heading down towards the Dolan School of Business.

Artfully yours, Carey

Captions:

Rembrandt van Rijn, Three Trees, 1643, etching, drypoint, and burin. Lent by Connecticut College.

Maria Katharina Prestel after Jacopo Ligozzi, The Triumph of Truth over Envy, 1780, etching and aquatint in brown and ochre ink, touched with gold leaf. Lent by Connecticut College.

Mikel Elam, Veil, 2019, offset lithograph, screenprint. Partial gift of the Brandywine Workshop and Archives and Museum Purchase with funds from the Black Art Fund, 2022 (2022.17.13) © Mikel Elam

James Phillips, Untitled II, 1994, offset lithograph. Partial gift of the Brandywine Workshop and Archives and Museum Purchase with funds from the Black Art Fund, 2022 (2022.17.33) © James Phillip

Ibrahim Miranda, El Túnel, 1999, offset lithograph. Lent by the Brandywine Workshop & Archives © Ibrahim Miranda

Lauren Booth, The Tulip Family: Mama Tulip, Papa Tulip and Child Tulip, 2017-2023, Bronze. On loan from the artist. © Lauren Booth

[beyourselfchulanmaria]

Algernon Newton RA (1880–1968) was a British landscape artist known as the "Canaletto of the canals". 

Algernon Cecil Newton (1880-1968) Summer Afternoon in Bayswater (61 x 46,4 cm)

[polish-art-tournament]

between-the-tournaments minigame 1

have you submitted your favourite polish art pieces for the new tournament already? are you a little bored waiting for it to begin? GREAT NEWS there's a minigame for you (and there will be two more. maybe three)

i present: two paintings and two collections of paintings associated with poland but not by polish artists (one could argue in bacciarelli's case but shhh) - vote for the one you like best!

Lady with an Ermine by Leonardo da Vinci: one of the most valuable paintings exhibited in Poland, subject of a very rude comment by our (former) (stupid) minister of culture, also subject of many many arguments between Polish people whether the animal is an ermine or a weasel, a classic

Canaletto's paintings of Warsaw: detailed af, after the destruction of the city in World War 2 they were used as a reference during the rebuilding of the Old Town, simply iconic

Bacciarelli's portraits of his contemporaries as well as Polish historical figures: Bacciarelli spent over 50 years of his life in Warsaw and was a professor at the University and is considered one of the fathers of Polish national/historical art style, and his descendands lived in Poland, sooooo one could argue his art is Polish art and could feature in the main tournament, but idk. I guess if enough people submit him to the new tournament I will include him? but for now here he is

Beach in Pourville by Claude Monet: the only Monet painting in Poland afaik, mostly famous for its theft from the museum in Poznań in 2000 (found in 2010)

have fun! next minigame will be posted on saturday