Campo Sant'Angelo, Venice

1730s · Painting

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Hvor er »Campo Sant'Angelo, Venice« i dag? Metropolitan Museum of Art, Sal 644, New York City. Ja, udstillet nu. Kontrolleret 29. september 2026.

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Uændret siden: 26. sep. 2026
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Inventarnummer: 2019.141.5

Hvad det viser

Turm Wells Towns Hund Venice

I kataloget

Malerier Olie Italiensk maleri Venetiansk maleri Rokoko 1700-tallet

Kilder

Metropolitan Museum of Art
Billede: Metropolitan Museum of Art — Open Access (CC0)

Imens i livet hos Canaletto

Hele livet

1720–1746 · Virkested
Venice
late 1720s
Owen Swiny urges him to paint views for tourists
Many of Canaletto's pictures are sold to Englishmen on their Grand Tour, first through the agency of Owen Swiny, who in the late 1720s encourages him to paint small topographical views of Venice with a commercial appeal for tourists and foreign visitors to the city.
until 1728
The association with Joseph Smith begins
Sometime before 1728 Canaletto begins his association with Joseph Smith, an English businessman and collector living in Venice, who is appointed British Consul there in 1744; Smith will become the artist's principal agent and patron.
1728–1735
Visentini's etchings after thirty-eight of Canaletto's views
In 1728–35 Smith arranges for thirty-eight of Canaletto's painted vedute to be reproduced in etchings by Antonio Visentini and published under the title “Urbis Venetiarum Prospectus Celebriores ex Antonii Canal”.
c. 1729 – 1735
Smith as agent: a “market of taste” for the Venetian veduta
Joseph Smith — a banker, art dealer and later British consul in Venice — creates a “market of taste” for the Venetian veduta among British aristocrats touring Italy and, as Canaletto's commercial agent from about 1729 to 1735, in effect controls the artist's work to the benefit of them both. Among the young painter's buyers is also the Prince of Liechtenstein.
1740s
The War of the Austrian Succession: the British stop coming
In the 1740s Canaletto's market is disrupted when the War of the Austrian Succession reduces the number of British visitors to Venice. Smith arranges for the publication of a series of etchings of “capricci” (architectural fantasies), but the returns are not high enough.