Campo Sant'Angelo, Venice

1730s · Painting

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はい、現在展示中

『Campo Sant'Angelo, Venice』は今どこに？ メトロポリタン美術館, 展示室 644, ニューヨーク. はい、現在展示中. 確認 2026年9月29日.

メトロポリタン美術館

ニューヨーク, アメリカ合衆国

展示室展示室 644

開館中· 21:00まで

一般公開されています。

確認: 12 日前
この状態になった日: 2026年9月26日
出典: 美術館

地図で見る美術館のページ

作品データ

収蔵番号: 2019.141.5

描かれているもの

Turm Wells Towns イヌ Venice

カタログ収録

絵画油彩イタリア絵画ヴェネツィア派の絵画ロココ 18世紀

出典

メトロポリタン美術館
画像：メトロポリタン美術館 — Open Access (CC0)

その頃、Canalettoの人生では

生涯をすべて見る

1720–1746 · 活動地
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.