The Equestrian Monument

1720–1746 · Miejsce pracy

Venice

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.

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.