Sunday, July 9, 2017

09 Paintings of the Canals of Venice in the 18 & 19th Century, by the artists of the time, with foot notes. #7

Thomas Moran, 1837 - 1926
VIEW OF VENICE, c. 1897
Oil on canvas
11 1/8 by 17 1/8 inches, (28.3 by 43.5 cm)
Private collection

Thomas Moran (February 12, 1837 – August 25, 1926) from Bolton, England was an American painter and printmaker of the Hudson River School in New York whose work often featured the Rocky Mountains. Moran and his family, wife Mary Nimmo Moran and daughter Ruth, took residence in New York where he obtained work as an artist. He was a younger brother of the noted marine artist Edward Moran, with whom he shared a studio. A talented illustrator and exquisite colorist, Thomas Moran was hired as an illustrator at Scribner's Monthly. During the late 1860s, he was appointed the chief illustrator for the magazine, a position that helped him launch his career as one of the premier painters of the American landscape, in particular, the American West.

Moran along with Albert Bierstadt, Thomas Hill, and William Keith are sometimes referred to as belonging to the Rocky Mountain School of landscape painters because of all of the Western landscapes made by this group. More on Thomas Moran

OLIVER DENNETT GROVER, 1861 - 1927
View of Venice, c. 1912
Oil on canvas laid down on panel 
18 by 24 inches (45.7 by 60.9 cm)
Private collection

Oliver Dennett Grover (1861 Earlville, Illinois – 1927 Chicago), was an American landscape and mural painter. Grover's family moved to Chicago early in his life. There he spent much of his time sketching at the Academy of Design. Showing great promise he was enrolled at Munich’s Royal Academy in 1879, where he studied under Frank Duveneck. At the age of 19 he exhibited at Munich’s International Exposition. Grover followed Duveneck to Venice and Florence, and then went on to study in Paris from 1883 to 1885 under Gustave Boulanger, Jean-Paul Laurens and Lefebvre.

He returned to Chicago in 1885 and was appointed as an instructor at the Art Institute of Chicago for five years, also opening a studio and founding the Western Art Association. Between 1887 and 1892 he served on the faculty of the Chicago Art Academy. Ada Walter Shulz was among his pupils.

Grover became an Associate of the National Academy of Design in 1913. During the last years of his life, he also became a board member of the Association of Arts and Industries which was a major influence in Chicago design in the 1920s and 1930s.  More on Oliver Dennett Grover

Martín Rico y Ortega, 1833 - 1908, SPANISH
RIO SAN BARNABA, VENICE
Oil on canvas
27 1/2 by 19 in., 70 by 48.2 cm
Private collection

The rio di ( or San Barnaba) ( canal of San Barnabé ) is a canal of Venice in the Dorsoduro (Sestiere of Venice).  It connects the rio dell'Avogaria in the east with the Grand Canal. More on RIO SAN BARNABA

Martín Rico y Ortega (12 November 1833, El Escorial – 13 April 1908, Venice, Italy) was a Spanish painter of landscapes and cityscapes. Rico was one of the most important artists of the second half of the nineteenth century in his native country, and enjoyed wide international recognition.

Rico was born in Madrid and received his earliest formal training at the city’s Real Academia de Bellas Artes de San Fernando, where he studied under Jenaro Pérez Villaamil, the Academy’s first professor of landscape painting. Under the tutelage of Pérez Villaamil, Rico’s earliest works show him influenced by Romanticism, the style for which his teacher was known. In 1860, having been awarded a government-sponsored scholarship, Rico moved to Paris to continue his studies.

His landscapes from this decade depict the French and Swiss countryside in a fully accomplished Realist style. Toward the end of 1870, due to political and social unrest caused by the outbreak of the Franco-Prussian War, Rico decided to leave France and return to his native Spain.

At the invitation of his good friend and colleague Marià Fortuny, Rico moved to the southern city of Granada, joining Fortuny and his wife Cecilia, as well as the painter Ricardo de Madrazo. The three artists worked closely during this period, with the styles of Rico and Fortuny overlapping so much that their watercolors—a specialty for both artists—were often confused for one another. It was during this time that, through Fortuny’s influence, Rico’s paintings began to reveal a newfound sense of luminosity and color. His time in Andalucía was, according to his memoirs, one of his happiest, and also one of his most artistically productive periods. More Ortega

Konstantin Ivanovich, (1876 Stavropol - 1945 Berlin) 
La Guidecca Venedig
Aquatint on opaque white over pencil on thin cardboard
32, 4 x 41, 7 cm
Private collection

Konstantin Ivanovich (1876 Stavropol - 1945 Berlin)  was a Russian post-impressionist painter. Gorbatov was born in Stavropol. He lived in Riga from 1896 to 1903, and studied civil engineering before painting. Gorbatov moved to St. Petersburg in 1904 and studied at the Baron Stieglitz Central School for Technical Draftsmanship. He initially entered the architecture department of the Imperial Academy of Arts before switching to paintin. Gorbatov received a scholarship and studied art in Rome and Capri. He returned to St. Petersburg and participated in the Peredvizhniki exhibitions.

Gorbatov left Russia permanently in 1922 following the Russian Revolution of 1917 and settled on the Italian island of Capri. He moved to Berlin in 1926, where he remained until his death. Gorbatov became a member of a Russian emgiree artistic circle. He became a well-known established artist. Gorbatov traveled throughout Europe during the late 1930s, visited Palestine and Syria in 1934 and 1935, and often came by Italy. Gorbatov's art became unneeded in the Nazi Germany and the family soon became impoverished. As a Russian émigré, he was forbidden to leave Germany during World War II. Gorbatov died shortly after the allied victory over Germany on 12 May 1945. 

Gorbatov bequeathed to the Academy of Arts in Leningrad. The works were delivered to the Moscow Regional Museum of history and Arts near the New Jerusalem Monastery, where they have since been exhibite. More on Konstantin Ivanovich

John Singer Sargent,  (1856–1925)
A Street in Venice, c. 1880-82
Oil on canvas
75.1 × 52.4 cm (29.6 × 20.6 in)
Clark Art Institute,  Williamstown, Massachusetts, United States

John Singer Sargent, American, 1856-1925, Florence, Italy, based in Paris & London. A popular society portraitist and landscape painter, John Singer Sargent was born in Florence to wealthy American parents. He studied painting in France, where he enjoyed both critical acclaim and important patronage. Although he spent most of his time in Europe, he frequently accepted commissions from collectors in the United States. Whether rendered in oil, watercolor, or charcoal, Sargent’s works are characterized by naturalism, lively mark-making, and a sense of immediacy. Influenced by his friendship with Claude Monet, Sargent loved working en plein air, depicting the various places he traveled, including Italy, rural England, Giverny, the Mediterranean, northern Africa, and the Alps. During his later years, Sargent completed several mural projects, as well as working as an artist-correspondent during World War I. More on John Singer Sargent

John Singer Sargent,  (1856–1925)
A Street in Venice, c. 1882
Oil on wood
45.1 x 53.9 cm (17 3/4 x 21 1/4 in.)
National Gallery of Art, Washington D.C.

John Singer Sargent , (1856–1925), see above

John Singer Sargent,  (1856–1925)
On the Canal, c. 1903 
Watercolor on paper 
34.29 x 49.53 cm (13.5 x 19.5 in)
Musée du Petit Palais, Paris, France 

John Singer Sargent,  (1856–1925), see above

Amédée Rosier, MEAUX 1831 - 1898
ESCLAVON BANKS, VENICE
Oil on canvas
97,5 x 150 cm ; 38 3/8 by 59 in.
Private collection

Étienne Amédée Rosier, born on the 20 August 1831 in Meaux and died on November 1914 in  Boulogne-Billancourt was a  French orientaliste painter.  Rosier was the pupil of the painters Léon Cogniet and Carolus-Duran . His first painting presented to the Salon of 1857 was a painting of history, The Naval Combat in Sevastopol . He traveled extensively in Venice and Constantinople . It also crosses Egypt and North Africa .

He received a third-class medal at the Salon of 1876 with The Lagoon at night in Venice 4 . He was awarded a bronze medal at the 1889 World Exposition for Venice, the Grand Canal. More on Étienne Amédée Rosier

Francesco Guardi, (Venice 1712-1793)
Venice: the Rialto Bridge with the Palazzo dei Camerlenghi
Oil on canvas
47⅛ x 80½ in (119.7 x 204.3 cm)

The view of Venice, which has a rich exhibition history and featured most recently at the Canaletto and his Rivals  exhibition, had been offered for sale only once before. It was acquired in 1768 by an English MP, Chaloner Arcedeckne (c. 1743-1804), during his Grand Tour, and remained in the family until 1891. It was then sold privately via Christie’s, along with its pendant, for £3,850, to the great collector Sir Edward Cecil Guinness, later 1st Lord, and 1st Earl of Iveagh (1847–1927), in whose family it had remained. More on this painting

Rialto Bridge. The first dry crossing of the Grand Canal was a pontoon bridge built in 1181 by Nicolò Barattieri. It was called the Ponte della Moneta, presumably because of the mint that stood near its eastern entrance.

The development and importance of the Rialto market on the eastern bank increased traffic on the floating bridge, so it was replaced in 1255 by a wooden bridge.[2] This structure had two inclined ramps meeting at a movable central section, that could be raised to allow the passage of tall ships. The connection with the market eventually led to a change of name for the bridge. During the first half of the 15th century, two rows of shops were built along the sides of the bridge. The rents brought an income to the State Treasury, which helped maintain the bridge. More on the Rialto Bridge

Palazzo dei Camerlenghi is a Renaissance palace in Venice, northern Italy, located in the sestiere (quarter) of San Polo. It faces the Canal Grande, adjacent to the Rialto Bridge.

The palace was built from 1525 to 1528 under design by Guglielmo dei Grigi, who was inspired by the style of Mauro Codussi and Pietro Lombardo. It was the seat of several financial magistrates, including the Camerlenghi whom it takes its name from, the Consuls of the Traders and the Supra-Consuls of the Traders. Due to this function, the lower floor was used as a jail for the insolvents: the location nearby the crowded Rialto Bridge served as an admonition for the people passing there.

The palace currently houses the regional seat of the Italian Comptroller and Auditor General. More on Palazzo dei Camerlenghi 

Francesco Lazzaro Guardi (October 5, 1712 – January 1, 1793) was an Italian painter of veduta, nobleman, and a member of the Venetian School. He is considered to be among the last practitioners of the classic Venetian school of painting.

In 1735, Guardi moved to the workshop of Michele Marieschi, where he remained until 1743. His first certain works are from 1738, for a parish at Vigo d'Anuania, in Trentino. In this period he worked alongside his older brother.

His works in this period included both landscapes and figure compositions. In 1763 he worked in Murano, in the church of San Pietro Martire, finishing a Miracle of a Dominican Saint.

Francesco Guardi, (Venice 1712-1793)
Venice: the Rialto Bridge with the Palazzo dei Camerlenghi
Detail

Francesco Guardi's most important later works include the Doge's Feasts, a series of twelve canvases celebrating the ceremonies held in 1763 for the election of Doge Alvise IV Mocenigo. In circa 1778, he painted the severe Holy Trinity Appearing to Sts. Peter and Paul in the parish church of Roncegno.

In 1782 Guardi was commissioned by the Venetian government six canvases to celebrate the visit of the Russian Archdukes in the city, of which only two remain, and two others for that of Pope Pius VI. On September 12 of that year he was admitted to the Fine Art Academy of Venice.

Guardi died at Campiello de la Madona in Cannaregio (Venice) in 1793. More














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