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Canaletto
The Miracle at the Well vd
1646-48
Oil on canvas, 216 x 149 cm
Museo del Prado, Madrid
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Canaletto
Noli me Tangere fdgd
c. 1640
Oil on canvas, 141,5 x 109,5 cm
Museum of Fine Arts, Budapest
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Canaletto
St John the Evangelist on Pathmos df
1646-50
Oil on canvas, 218 x 153 cm
Museum of Fine Arts, Budapest
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Canaletto
San Giacomo di Rialto
1725-30, Gemäldegalerie, Dresden
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Canaletto
Entrance to the Grand Canal from the Piazzetta
1727, Royal Collection
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Canaletto
San Cristoforo
San Michele & Murano- From Fondamenta Nuova, 1725-30, Dallas Museum of Art
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Canaletto
An Allegorical Painting the Tomb of Lord Somers
1722-29, Viscount Windsor
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Canaletto
The Basin of San Marco on Ascension Day
1732, Royal Collection
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Canaletto
Piazza San Marco- Looking North
1729, Nelson-Atkins Museum of Art, Kansas City
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Canaletto
The Stonemason's Yard
1728, The National Gallery at London.
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Canaletto
The Piazzetta- Looking South
1727, Royal Collection
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Canaletto
Alnwick Castle at Northumberland
1752, The Duke of Northumberland
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Canaletto
London- Westminster Abbey with a Procession of the Knights of the Bath
1749, Dean & Chapter of Westmister
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Canaletto
Capriccio- The Horses of San Marco in the Piazzetta
1743, Royal Collection.
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Canaletto
Riva degli Schiavoni- Looking East
1730, Devonshire Collection Trustees, Chatsworth
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Canaletto
Venice: The Feast Day of St. Roch
1735, The National Gallery at London
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Canaletto
Piazza San Marco- Looking Southeast
1735-40, National Gallery of Art at Washington D.C.
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Canaletto
Warwick Castle- The East Front
1748-49, Birmigham City Museum and Art Gallery
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Canaletto
The Basin of San Marco on Ascension Day (mk08)
c.1735-1741
Oil on canvas
121.9x182.8cm
London,National Gallery
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Canaletto
The Courtyard of the Castle of Warwick (mk08)
1751
Oil on canvas
75x122cm
Warwick,Duke of Warwick Collection
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| Canaletto
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Italian Rococo Era Painter, 1697-1768
Italian painter, etcher and draughtsman. He was the most distinguished Italian view painter of the 18th century. Apart from ten years spent in England he lived in Venice, and his fame rests above all on his views (vedute) of that city; some of these are purely topographical, others include festivals or ceremonial events. He also painted imaginary views (capriccios), although the demarcation between the real and the invented is never quite clearcut: his imaginary views often include realistically depicted elements, though in unexpected surroundings, and in a sense even his Venetian vedute are imaginary. He never merely re-created reality. He was highly successful with the English, helped in this by the British connoisseur JOSEPH SMITH, whose own large collection of Canaletto works was sold to King George III in 1762. The British Royal Collection has the largest group of his paintings and drawings.
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