My favorite landscape or, more accurately, cityscape, painter is Canaletto. His exquisite paintings particularly of old Venice are marvelous in their detail but more importantly his use of light.
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| Piazza di San Marco em Veneza |
Canalettos in institutions, by country:
UK
Wallace Collection, London
National Gallery, London
British Museum, London
Sir John Sloane's Museum, London
Westminster Abbey, London
Museum of London, London
Dulwich Picture Gallery, London
Westminster Abbey, London
Manchester Art Gallery, Manchester
Fitzwilliam Museum, Cambridge
Ashmolean Museum, Oxford
Upton House, Warwickshire
Tatton Park, Cheshire
Birmingham Museum and Art Gallery, Birmingham
National Gallery of Scotland, Edinburgh
Woburn Abbey, Bedfordshire
Boews Museum, Barnard Castle, Teesdale
Holkham Hall, Holkham
Farnborough Hall, Warwickshire
Dulwich Picture Gallery, London
National Maritime Museum, Greenwich
Penrhyn Castle, Gwynedd, Wales
Italy
Uffizi Gallery, Florence
Gallerie dell'Accademia, Venice
Palazzo Leoni Montanari, Venice
Ca' Rezzonico, Venice
Galleria nazionale di Parma, Parma
Accademia Carrara, Bergamo
Pinacoteca di Brera, Milan
Museo Poldi Pezzoli, Milan
Galleria Nazionale d'Arte Antica, Rome
Galleria Borghese, Rome
Galleria nazionale d'arte antica di palazzo Corsini, Rome
Pinacoteca Giovanni e Marella Agnelli, Turin
United States
Metropolitan Museum of Art, New York
National Gallery of Art, Washington
Detroit Institute of Arts, Detroit, MI
Museum of Fine Arts, Houston
Dayton Art Institute, Dayton, OH
Dallas Museum of Art, Dallas
The J. Paul Getty Museum, Los Angeles
Nelson-Atkins Museum of Art, Kansas City, MO
Birmingham Museum of Art, Birmingham, AL
Kimbell Art Museum, Fort Worth, TX
Fogg Art Museum, Harvard Univ., Cambridge, MA
Philadelphia Museum of Art, Philadelphia, PA
Wadsworth Atheneum Museum of Art, Hartford, CT
Yale Center for British Art, New Haven, CT
North Carolina Museum of Art, Raleigh, NC
Indianapolis Museum of Art, Indianapolis, IN
San Diego Museum of Art, San Diego, CA
Columbia Museum of Art, Columbia, SC
El Paso Museum of Art, El Paso, TX
FRANCE
Musée du Louvre, Paris
Musée d'art et d'histoire, Narbonne
Musée Jacquemart André, Paris
Fondation Bemberg, Toulouse
Musée des beaux-arts, Brest
Musée de Grenoble, Grenoble
Musées de la Ville, Strasbourg
Musée Cognacq-Jay, Paris
GERMANY
Gemäldegalerie de Berlín, Berlin
Old Masters Picture Gallery, Dresden
Alte Pinakothek, Munich
Staatsgalerie, Stuttgart
Städel Museum, Frankfurt
AUSTRIA
Kunsthistorisches Museum, Vienna
RUSSIA
Hermitage Museum, St. Petersburg
SPAIN
Thyssen-Bornemisza Museum, Madrid
Prado, Madrid
BRAZIL
Ricardo Brennand Institute, Recife
CANADA
Montreal Museum of Fine Arts, Montreal
National Gallery of Canada, Ottawa
By far the greatest number (32) in a single location are those in the royal collection in England not readily accessible to the public.
I HAVE SEEN (47)
Thyssen-Bornemisza Museum, Madrid (6):
The Piazza San Marco in Venice (1723)
The Grand Canal from San Vio, Venice (1723)
The South Façade of Warwck Castle (1748)
In the interior of a Palace (1765)
The School of San Marco (1765)
Porta Portbello, Padua (1760)
National Gallery, London (room 38) (10):
Piazza San Marco and the Colonade of the Procuratie Nuove (late 1750s)
A Regatta on the Grand Canal (about 1740; 1 of 2 favourites here)
San Pietro in Castello (1730s)
The Feast Day of Saint Roch (about 1735)
Interior of the Rotunda at Ranelagh [London] (1754)
Eton College (about 1754)
Piazza San Marco (about 1758)
The Doge’s Palace and the Riva degli Schiavoni (late 1730s)
The Basin of San Marco on Ascension Day (about 1740; 1 of 2 favourites here)
The Grand Canal with San Simeone Piccolo (about 1740)
Royal Maritime Museum, London (special exhibition, 2022) (23):
(Almost all were from the Woborn Abbey Collection)
The Piazzetta di San Marco with the Libreria Vecchia on the left and Palazzo Ducale on the right (1731-36)
View of the Doge’s Palace at the Piazzetta seen from the Bacino (1731-36 - very good use of light!)
View on the Grand Canal with the Bridge of the Rialto and the Fondaco dei Tedeschi and the Palazzo dei Camerlenghi on the left (1731-36 - view of Rialto is good)
View of the Grand Canal from the Palazzo Bembo to Palazzo Vendramin-Calergi (1731-36 - good use of light)
The Plazza San Marco looking from the Basilica di San Marco to the Church of San Geminiano (1731-36 - good use of light)
The Campo Francesco Morosini from San Stefano with the Church of San Vitale on the right (1731-36 - don’t like)
The Campo Santa Maria Formosa with the church and campanile to the left beyond the two narrow bridges spanning the Rio di Santa Maria Formosa the Palazzo Grimani (1731-36)
The Scuola di San Marco (1731-36 - I don’t like, too much neo-classical architecture)
The Piazza San Marco looking towards the Basilica di San Marco and the Campanile (1731-36 - very nice!)
The Entrance to the Grand Canal with the Dogana and the Church of Santa Maria della Salute (1731-36 - excellent)
View of the Grand Canal with on the right the churches of Santa Croce and San Simeone Piccolo on the left the churches of Santa Lucia and Gli Scalzi (1731-36 - do not like)
The Church of Redentore on the Giudecca (1731-36 - too much neo-classical architecture)
View of the Grand Canal from the Palazzo Vendramin-Calergi to the Traghetto da San Felice with, on the right, the Palazzo Capovilla (1731-36 - okay)
View of the Grand Canal looking north from the Palazzo Contarinidagli Scrigni to the Palazzo Rezzonico (1731-36 - nice view everyday life)
View of the Grand Canal looking up from the Palazzo Corner della Ca' Grande (1731-36 - better than the above)
View on the Grand Canal looking down from the Palazzo Pesaro to the Palazzo Civran (1731-36 - great use of light but extreme realism on right side)
View on the Cannaregio looking towards the Ponte di San Giobbe (1731-36 - great use of light but everyday life scene with washing)
View on the Grand Canal looking up from the Palazzo Rezzonico to the Palazzo Balbi (1731-36 - great use of light)
The Entrance to the Arsenal with the Oratory of the Madonna dell'Arsenale (1731-36 - his only view of the shipyard)
View of the Grand Canal looking up from the Palazzo Balbi to the Rialto (1731-36 - okay)
View of the Grand Canal looking up to the Rialto from the Palazzo Corner-Spinelli (1731-36 - nice view smaller canal)
View of the Grand Canal from the Saccadi Santa Chiara (1731-36 - close up view of workers)
The Grand Canal, Ascension Day: The embarkation of the Doge of Venice (1731-36 - large view of festival. Light is a little too uniform. The scene is too busy for my taste, too much going on)
Kunsthistorische Museum, Vienna (2)
The Dogana in Venice (1724-30 – excellent overall lightness and subtle shadows)
Riva degli Schiavoni in Venice (1724-30 - too much the same lightness overall with very little gradation to shadow. It is an interesting composition but too much sky)
National Gallery of Scotland (2)
The Riva degli Schivoni looking East (c.1745 - finely detailed, well lit, but ordinary scene)
The Molo Looking West (c.1745 - finely detailed, well lit, more interesting scene than the one above)
Alte Pinakothek, Munich (2)
Riva degli Schiavoni in Venice (1724-30 - Found light too overall uniform without much gradations. Interesting composition but too mush sky. Smaller than most, approx. 24" x 18")
The Dogana in Venice (1724-30 - Excellent. Great use of light with subtle shadowing. Smaller than most, approx. 24" x 18")
National Gallery, Ottawa (2)
Saint Marks and the Clock Tower (1735-37 - fairly good but depicts disheveled stalls)
The Campo di Rialto and the Church of Saint James (1740-60 - just okay but boring. Scene shows slightly run down buildings in the centre)
