CanalettoItalian, 1697–1768Le Preson. V.
Can I see it?
Not on view at present
Where is “Le Preson. V.” now? Collection: Minneapolis Institute of Art, Minneapolis. Not on view at present. Checked September 29, 2026.
Minneapolis, United States
It belongs to the collection, but is not on display at present.
- Checked
- In this state since
- Source
- The museum
About the work
The prison occupies the center of this view. To the left is the Doge’s palace, in front of which we see a knife grinder working at his wheel. The Ponte della Paglia (Bridge of the Straw), is at center, probably named for the nature of the market located nearby centuries earlier. The huts at either end of the bridge suggest that this heavily trafficked area was attractive to vendors. The large building with many chimneys is the Palazzo Dandolo, now the posh Hotel Danieli.
Minneapolis Institute of Art
Details
- Accession number
- P.13, 328
In the catalog
Sources
- Minneapolis Institute of Art
- Image: Minneapolis Institute of Art — public domain
In the life of Canaletto
The whole life1720–1746 · Workplace
Venice
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.
1744
His father, Bernardo Canal, dies
In 1744 Canaletto's father, the painter Bernardo Canal, from whom he had learned his trade, dies.
1746
Moving to London because of wars and a collapsing market
Smith inspires Canaletto to travel to London; because of the wars shaking continental Europe he decides in 1746 to move to England, where he will live for the next ten years.
1746–1755
Rumours of an impostor: a newspaper advertisement
Canaletto's English paintings become repetitive and mechanical, and the critic George Vertue suggests that the man painting under the name “Canaletto” is an impostor — perhaps because his nephew Bernardo Bellotto was also using his uncle's nickname, or, more likely, because unscrupulous dealers passing off copies were anxious to see him return to Venice. To refute the claim the artist invites “any Gentleman”, through a newspaper advertisement, to inspect his latest painting of St James's Park at his studio in Silver Street, but his reputation never fully recovers in his lifetime.
1746–1756 · Workplace
Great Britain
