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However, his paintings are always notable for their accuracy: he recorded the seasonal submerging of Venice in water and ice. Don’t miss our free online talk exploring how Canaletto’s paintings of Venice have been used to measure changing sea levels 7pm, 8 July. Canaletto's early works remain his most coveted and, according to many authorities, his best. One of his early pieces is The Stonemason's Yard ( c. 1725, the National Gallery, London) which depicts a humble working area of the city. It is regarded one of his finest works, and was presented by Sir George Beaumont in 1823 and 1828. [14] This landmark exhibition presents the finest assembly of Venetian views by Canaletto and his 18th-century rivals to be seen in a generation. Bringing together around 50 major loans from the public and private collections of the UK, Europe and North America, Venice: Canaletto and His Rivals highlights the extraordinary variety of Venetian view painting, juxtaposing masterpieces by Canaletto with key works by artists including Luca Carlevarijs, Michele Marieschi, Bernardo Bellotto and Francesco Guardi.

Canaletto (1697–1768) is Venice's most famous view painter. His drawings and paintings record cityscapes that are familiar and loved throughout the world, none more so than his works recording his native Venice. His lively yet elegant paintings, drawings and etchings were enthusiastically collected by foreign patrons, among them Joseph Smith, the British consul to Venice, who later sold his collection to King George III. As a result, the Royal Collection now includes the largest and finest collection of Canaletto's works in existence. Whilst in England, between 1749 and 1752 Canaletto lived at number 41 Beak Street in London's Soho district. [18]

1697–1768

The most celebrated view painter of eighteenth-century Venice, Canaletto was particularly popular with British visitors to the city. This wonderfully fresh and well-preserved canvas shows one of the city's most emblematic locations, the Piazza San Marco. Canaletto reduced the number of windows in the bell tower and extended the height of the flagstaffs, but otherwise he took few liberties with the cityscape. In fact, this painting can be situated among the artist’s other views of the square because of his meticulous documentation of various stages in the laying of its pavement between 1725 and 1727. View more Listen Everett Fahy in The Wrightsman Pictures. Ed. Everett Fahy. New York, 2005, pp. 61–64, no. 16, ill. (color), notes that the Marlborough provenance of the Harvey series has been confirmed by John Harris (as relayed to him by Francis Russell in May 2000), who discovered an inventory of the pictures at Langley from the 1890s stating that five views of Venice in the drawing room "and others by Canaletto were bought with the house from the Duke of Marlborough in 1788. In an old inventory they are described as 'twenty views in fine frames'".

Katharine Baetjer and J. G. Links. Canaletto. Exh. cat., The Metropolitan Museum of Art. New York, 1989, pp. 130–31, no. 27, ill. (color), suggest a date in the late 1720s and compare it to the larger and earlier view in the Museo Thyssen-Bornemisza, Madrid, which shows the piazza only partly paved with stone, and is on that account dated in or about 1723; observe that the windows of the campanile are fewer in number and more widely spaced than in reality, and that the flagstaffs are too tall, but that otherwise the artist took few, if any, liberties with the topography; note that it is not engraved and there is no evidence of a pendant. This pair of paintings – A Regatta on the Grand Canal and The Basin of San Marco on Ascension Day– captures two of the most popular annual festivals in eighteenth-century Venice: the gondola races and the Wedding of the Sea ceremony. Both fell into decline during the late eighteenth century but were revived in 1965 and are still enjoyed today. Also, his paintings are always notable for their accuracy, an example being his recording of the seasonal submerging of Venice in water and ice. [11] The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars. Andrea Kirsh and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. New Haven, 2000, p. 262.

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The city that modern writers, film-makers and artists have portrayed is a place of shadows and memories, a ludicrously beautiful, impossible city where dream and reality are hard to tell apart. You can find that same mystery within the rational, meticulous views of Canaletto, but 24 views are quite a lot. And I am glad the city’s history did not stop in 1731 but has come into modern times when we plebeians can go there, too – even if we do spoil the view. One of Vanvitelli's successors and the first view painter in Venice to depend on foreign patronage was Luca Carlevarijs (1663–1729), an artist Canaletto soon eclipsed. Visitors to the Gallery will see important early works by Canaletto, such as The Piazza San Marco, Looking East (1723), on view next to similar subjec

Venice at the time of Canaletto was a cultural hotspot, and a centre for luxury crafts such as lace and glassmaking. Canaletto was part of a generation of leading Venetian creatives, which also included the composer Antonio Vivaldi and the Rococo painter Giovanni Battista Tiepolo. Lionello Puppi in The Complete Paintings of Canaletto. New York, 1968, p. 101, no. 118A, ill., as an autograph work by Canaletto, whereabouts unknown; dates it 1731–35. Canaletto’s harmonious views of Venice established his reputation as a leading view painter. He would travel around the city making pencil sketches, which he would later work up in his studio. The exhibition presents a spectacular selection of eighteenth-century Venetian art, with Canaletto's greatest works shown alongside paintings and works on paper by Sebastiano and Marco Ricci, Francesco Zuccarelli, Rosalba Carriera, Pietro Longhi and Giovanni Battista Piazzetta. The exhibition explores the many delights of eighteenth-century Venice, from the splendours of the Grand Canal and St Mark's Square to its festivals, theatre and masked carnival, bringing the irresistible allure of the most beautiful city in the world to The Queen's Gallery. Kathryn Calley Galitz. The Metropolitan Museum of Art: Masterpiece Paintings. New York, 2016, pp. 297, 422, 431, no. 273, ill. pp. 258, 297 (color).

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For Gazzard, it is this paradoxical nature of Canaletto’s work – creating remarkably detailed views of his city, while also cleverly manipulating the scenes he depicts – that is particularly fascinating.