Vista Alegre Crystal Única Large Vase Caneleto Blue

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Lord Wharton, England. Oil on canvas, 17 1/2 x 25 3/4 in. (44.5 x 65.5 cm). Constable and Links 1989, no. 240(b). The exhibition is part of ITALY@150, a series of activities in Washington, DC, and throughout the United States, that celebrate the 150th anniversary of the unification of Italy and the long-lasting friendship between the two countries. Michael Levey (1994). Painting in Eighteenth-century Venice. Yale University Press. pp.114–5. ISBN 978-0-300-06057-7. Capriccio of a Round Church with an Elaborate Gothic Portico in a Piazza, a Palladian Piazza and a Gothic Church Beyond

This pair of paintings – A Regatta on the Grand Canal and The Basin of San Marco on Ascension Day– captures two of the most popular annual festivals in eighteenth-century Venice: the gondola races along the Grand Canal and the Wedding of the Sea ceremony. Both fell into decline during the late eighteenth century with the fall of the Venetian Republic, but they were revived in 1965 and are still enjoyed today. Many of his pictures were sold to Englishmen on their Grand Tour, often through the agency of the merchant Joseph Smith (who was later appointed British Consul in Venice in 1744). It was Smith who acted as an agent for Canaletto, first in requesting paintings of Venice from the painter in the early 1720s and helping him to sell his paintings to other Englishmen.

This is particularly evident in how he uses people: all his figures are completely individualised, with different classes and activities represented,” she says.

Canaletto and the Art of Venice is the first publication to showcase in full the rich collection of eighteenth-century Venetian art held by the Royal Collection. It explores and discusses paintings, drawings and prints by Canaletto, as well as works by many of his contemporaries, including Sebastiano and Marco Ricci, Antonio Visentini, Francesco Zuccarelli and Giovanni Battista Piazzetta. Lavishly illustrated, the book presents these works in the context of Smith as a collector, and looks at the links between art and theatre in Venice, as well as the role of the city as a centre for printmaking and book production. Gondolas glide across the water, passing fishing boats which direct our gaze towards the mouth of the Cannaregio Canal, Venice’s largest waterway after the Grand Canal. The Ponte delle Guglie (‘bridge of the obelisks’), constructed in 1580 with an elegant balustrade and a pair of obelisks at each end, spans the water. Pietro Zampetti. I vedutisti veneziani del Settecento. Exh. cat., Palazzo Ducale. Venice, 1967, p. 150, under no. 68, p. 154, under no. 69, dates the series 1730–35. Famed for his precise and topographical depictions of Venice, Canaletto showcases the city’s varied cultural life in his works, from the bustling traffic on the Grand Canal to lavish Ascension Day festivities.Charles Beddington. "Review of Pedrocco 2001." Burlington Magazine 144 (July 2002), p. 440, points out that "there is good reason to doubt that the 'Harvey' series was bought in Venice in the mid-nineteenth century". Andrea Kirsh and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. New Haven, 2000, p. 262. Presenting the most important set of paintings of Venice by Canaletto (1697 – 1768), which have left their home at Woburn Abbey – one of world’s most important private art collections – for the first time in more than 70 years. The exhibition is accompanied by a richly illustrated catalogue presenting the latest scholarship on the complex stylistic relationships between Canaletto, his associates and rivals – the major practitioners of Venetian view painting in the 18th century. Additional support is kindly provided by Sally Engelhard Pingree and The Charles Engelhard Foundation.