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Dónde cuelga la obra maestra y cuándo le dejan pasar.

Colecciones: Galería Nacional de Arte, Galería Nacional de Dinamarca, Galería Nacional de Retratos, Galería Tretiakov, Harvard Art Museums, Instituto de Arte de Chicago, Instituto de Artes de Mineápolis, MoMA, Museo de Arte de Cleveland, Museo de Victoria y Alberto, Museo del Hermitage, Museo del Louvre, Museo Estatal Ruso, Museo Hirshhorn y Jardín de Esculturas, Museo J. Paul Getty, Museo Metropolitano de Arte, Museo Pushkin, Museo Smithsoniano de Arte Americano, Museo Whitney de Arte Estadounidense, National Museum of Asian Art, Rijksmuseum, Villa Getty, Catálogo Estatal del Fondo Museístico de Rusia (274 museos), Europeana (19 museos), Wikidata (6 museos), Paris Musées (12 museos) y Joconde, la base de museos del Ministerio de Cultura de Francia (495 museos). Las imágenes pertenecen a sus titulares de derechos.

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Title Plate, Canaletto, c. 1735/1746

Title Plate

c. 1735/1746 · Print

Ficha

c. 1735/1746
16971768
Número de inventario
1941.1.171

Mientras tanto, en la vida de Canaletto

La vida entera
  1. 1720–1746 · Lugar de trabajo

    Venice

  2. 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”.

  3. 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.

  4. 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.

  5. 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.

Más obras de Canaletto

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Bajo el mismo techo: Galería Nacional de Arte

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Sobre el mismo tema · Exterior

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  • 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.

  • Canaletto, retratoCanalettoItalia, 1697–1768

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    Galería Nacional de Arte

    Washington D. C., Estados Unidos

    Pertenece a la colección, pero ahora mismo no está expuesta.

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    En el mapaPágina del museo

    Lo que muestra

    ExteriorRuins

    En el catálogo

    EstampasAguafuerteRococóSiglo XVIIIVenetian

    Fuentes

    • Galería Nacional de Arte
    • Imagen: Galería Nacional de Arte — Museum open access
    Piazza San Marco, Canaletto, late 1720s

    Piazza San Marco

    late 1720s · Museo Metropolitano de Arte

    The Grand Canal, Venice, Looking South toward the Rialto Bridge, Canaletto, 1730s

    The Grand Canal, Venice, Looking South toward the Rialto Bridge

    1730s · Museo Metropolitano de Arte

    Campo Santa Maria Zobenigo, Venice, Canaletto, 1730s

    Campo Santa Maria Zobenigo, Venice

    1730s · Museo Metropolitano de Arte

    The Grand Canal, Venice, Looking Southeast, with the Campo della Carità to the Right, Canaletto, 1730s

    The Grand Canal, Venice, Looking Southeast, with the Campo della Carità to the Right

    1730s · Museo Metropolitano de Arte

    Campo Sant'Angelo, Venice, Canaletto, 1730s

    Campo Sant'Angelo, Venice

    1730s · Museo Metropolitano de Arte

    A Lock, a Column, and a Church beside a Lagoon, Canaletto

    A Lock, a Column, and a Church beside a Lagoon

    Museo Metropolitano de Arte

    Arrival of the French Ambassador in Venice, Canaletto, 1720s

    Arrival of the French Ambassador in Venice

    1720s · Museo del Hermitage

    The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola, Canaletto, about 1738

    The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola

    about 1738 · Museo J. Paul Getty

    Ginevra de' Benci [obverse], Leonardo da Vinci, c. 1474/1478

    Leonardo da Vinci

    Retrato de Ginebra de Benci, c. 1474/1478

    Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forma Decorat [reverse], Leonardo da Vinci, c. 1474/1478

    Leonardo da Vinci

    Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forma Decorat [reverse], c. 1474/1478

    Green Wheat Fields, Auvers, Vincent van Gogh, 1890

    Vincent van Gogh

    Green Wheat Fields, Auvers, 1890

    Girl in White, Vincent van Gogh, 1890

    Vincent van Gogh

    Chica en blanco, 1890

    Roses, Vincent van Gogh, 1890

    Vincent van Gogh

    Roses, 1890

    Self-Portrait, Vincent van Gogh, 1889

    Vincent van Gogh

    Self-Portrait, 1889

    Farmhouse in Provence, Vincent van Gogh, 1888

    Vincent van Gogh

    Granja en Provenza, 1888

    La Mousmé, Vincent van Gogh, 1888

    Vincent van Gogh

    La Mousmé, 1888

    Winnowing Grain, Taos Pueblo, New Mexico, Ansel Adams, c. 1929, printed 1981

    Ansel Adams

    Winnowing Grain, Taos Pueblo, New Mexico, c. 1929, printed 1981

    No expuesta · Galería Nacional de Arte

    Barn, Cape Cod, Massachusetts, Ansel Adams, c. 1937, printed 1981

    Ansel Adams

    Barn, Cape Cod, Massachusetts, c. 1937, printed 1981

    No expuesta · Galería Nacional de Arte

    Mormon Temple, Manti, Utah, Ansel Adams, 1948, printed 1980

    Ansel Adams

    Mormon Temple, Manti, Utah, 1948, printed 1980

    No expuesta · Galería Nacional de Arte

    Saint Francis Church, Ranchos de Taos, New Mexico, Ansel Adams, c. 1929, printed 1981

    Ansel Adams

    Saint Francis Church, Ranchos de Taos, New Mexico, c. 1929, printed 1981

    No expuesta · Galería Nacional de Arte

    Penitente Moranda, Coyote, New Mexico, Ansel Adams, c. 1950, printed 1981

    Ansel Adams

    Penitente Moranda, Coyote, New Mexico, c. 1950, printed 1981

    No expuesta · Galería Nacional de Arte

    Church and Road, Bodega, California, Ansel Adams, c. 1953, printed 1981

    Ansel Adams

    Church and Road, Bodega, California, c. 1953, printed 1981

    No expuesta · Galería Nacional de Arte

    Pool, Acoma Pueblo, New Mexico, Ansel Adams, c. 1942, printed 1981

    Ansel Adams

    Pool, Acoma Pueblo, New Mexico, c. 1942, printed 1981

    No expuesta · Galería Nacional de Arte

    Rouen Cathedral, West Façade, Sunlight, Claude Monet, 1894

    Claude Monet

    Rouen Cathedral, West Façade, Sunlight, 1894

    Galería Nacional de Arte