32 - Antonio CANAL, known as CANALETTO (Venice, 1697–1768)

Antonio CANAL, known as CANALETTO (Venice, 1697–1768) Caprice of the Lagoon with a Ruined Arch Spanning a Canal to Reach a Pavilion Pen and brown ink, gray and brown wash 36.5 x 52.5 cm Inscribed “Canaletto” lower left On the reverse, a perspective view of a colonnade drawn in black pencil Traces of restoration, sun-faded, vertical center fold; two tears (5 cm) and a small loss (0.5 cm) restored at the bottom center Related works: Our drawing can be compared to a similar painting with minor variations (see: W.E. Constable and J.E. Links, *Canaletto*, Oxford, 1989, 2 volumes, no. 511, repr. pl. 93, former Davies collection) A drawing with the same architectural composition is noted by Links (op. cit., no. 823, pl. 155). The pavilion on the right is derived from the Portello Gate, while the arches appear to be inspired by the layout of an aqueduct flanking the Udine Gate in Palmanova (see André Corboz, *Canaletto, Una Venezia immaginaria*, Milan, 1985, Alfieri Electa, 2 volumes, p. 323). The success of this *Caprice* led to several other painted versions with slight variations (work cited above, nos. 511a and 512). A drawing with variations corresponding to the horizontal version (no. 512) in certain details has recently resurfaced in England. Canaletto did not hesitate to reuse motifs when they proved successful. This series of Caprices was undoubtedly produced during his stay in Great Britain or shortly thereafter (they are dated to a period of activity between 1747 and 1755 by André Corboz (see Canaletto, *Una Venezia immaginaria*, Milan, 1985, ed. Alfieri Electa, 2 volumes, pp. 724–725). Mr. Charles Beddington, who confirmed the attribution of our drawing, believes that the artist provided a drawn version to the patron and created a second one to preserve a record of the composition and reuse it. Giovanni Antonio Canal, known as Canaletto, left his mark on the 18th century by becoming one of the most famous representatives of Italian veduta painting. The veduta, meaning “view” in Italian, is a painting of an urban landscape or panorama characterized by its topographical accuracy and expert use of perspective. In the 18th century, Venice was recognized as the capital of veduta painting, led by its leading artist, Canaletto. The son of a Venetian artist who painted theater sets, he learned to paint in his father’s studio. In 1720, during a trip to Rome, the young Canaletto met pioneering veduta artists such as Giovanni Paolo Panini and Caspar van Wittel, who would greatly influence him. Upon his return to Venice, he devoted himself to vedute. His incredibly detailed works combine a mastery of light and shadow with geometric precision, while maintaining a surprising topographical freedom. They were particularly popular with foreign art lovers, especially young English aristocrats who had visited Venice during their Grand Tour. Internationally renowned, Canaletto moved to London in 1746 for four years, where his vedute of the English capital were greatly appreciated. Consequently, the richest collection of Canaletto’s works is that of the British Royal Collection, which alone holds more than 54 paintings and 143 drawings by the artist. Based on realistic depictions of urban landscapes derived from outdoor observation and the use of the camera obscura—an optical device that allows for multiple viewpoints—Canaletto’s paintings required numerous preparatory drawings before being executed in the studio. Moving away from the realistic chiaroscuro of his early works—marked by cold, stormy skies—Canaletto gradually idealized the Venetian scenes he depicted, infusing them with light and color. His *caprici*—imaginary landscapes combining ruins with often fantastical architectural elements—blend real monuments, such as the Rialto Bridge, with ruins or other architectural views of Venice. Canaletto’s success earned him numerous famous heirs and followers, such as Francesco Guardi and Bernardo Bellotto. Bayser Appraisal Firm, viewable at the appraiser’s office by appointment