Imaginary View of Venice, houses at left with figures on terraces, a domed church at center in the background, boats and boat-sheds below, and a seated man observing from a wall at right in the foreground, from 'Views' (Vedute altre prese da i luoghi altre ideate da Antonio Canal)
'Views' (Vedute altre prese da i luoghi altre ideate da Antonio Canal)
Canaletto (Giovanni Antonio Canal) (Italian, Venice 1697–1768 Venice)
Purchase, Gift of Mary V.T. Eberstadt and Bequest of Gertrude Moira Flanagan, by exchange, 1973
Not on view
Venice in the eighteenth century was the site of an extraordinary flourishing of print production, which reached its apogee in the years 1740–45. It was in these years that Canaletto, the great painter of views of Venice and also of England during his sojourn there, made approximately thirty etchings: thirteen large plates and seventeen smaller ones. The title plate to the series states that these are 'Views, some representing actual sites, others imaginary.' This is one of the imaginary views, reminiscent of Venice and the lagoon. For an unknown reason, Canaletto divided this plate down the middle, between the backs of the two central figures, soon after it was made. Fewer than ten impressions are known from the undivided plate. The date, 1741 in Roman numerals on the wall at the left, is the only one on any of Canaletto's prints.
Inscription: Inscribed with date on house at left: "MDCCXLI"
Vendor: R. M. Light and Co.
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," December 4, 1992–April 5, 2013.
The Metropolitan Museum of Art. "Venetian Prints and Books in the Age of Tiepolo," January 23, 1997–April 22, 1997.
Oklahoma City Museum of Art. "The Allure of La Serenissima: Eighteenth-century Venetian Art," September 9, 2010–January 2, 2011.
Alexandre de Vesme Le peintre-graveur Italien. Milan, 1906, cat. no. 12, 13, p. 451.
Colta Ives, Janet S. Byrne, Mary L. Myers, Suzanne Boorsch, Weston J. Naef, David W. Kiehl, The Metropolitan Museum of Art The Metropolitan Museum of Art: Notable Acquisitions, 1965-1975: Prints, Architecture and Ornament. New York, 1975, p. 194, ill.
Dario Succi, Dario Succi, Ca' Pesaro, Galleria Internazionale d'Arte Moderna Canaletto & Visentini, Venezia & Londra. Edizioni Bertoncello - E. Tedeschi, [Venice], 1986, cat. no. 31, p. 208, ill.
Ruth Bromberg Canaletto's etchings Revised and enlarged edition of the catalogue raisonné. Alan Wofsy Fine Arts, San Francisco, 1993, cat. no. 12, p. 95, ill.
The Glory of Venice. Art in the Eighteenth Century. Exh. cat., Washington, National Gallery of Art; London, Royal Academy. edited by Jane Martineau, Edited by Andrew Robison, London, 1994, cat. no. 145.
Artist: Canaletto (Giovanni Antonio Canal) (Italian, Venice 1697–1768 Venice)Date: 1697–1768Medium: Pen and brown ink, brush and gray wash, over traces of lead or graphite (recto). Squared in lead or graphite. Faint traces of a constructed outline drawing of an architectural scene, in lead or graphite; faint traces of a constructed outline drawing of buildings along a Venetian canal in lead or graphite (verso)Accession: 43.61On view in:Not on view
Artist: Canaletto (Giovanni Antonio Canal) (Italian, Venice 1697–1768 Venice)Date: 1697–1768Medium: Pen and brown ink, over traces of lead or graphite (recto); vertical ruled line in lead or graphite at center, standing men and study of profile head in pen and brown ink, over traces of graphite or lead; study of head in graphite (verso)Accession: 39.79On view in:Not on view
Artist: Canaletto (Giovanni Antonio Canal) (Italian, Venice 1697–1768 Venice)Date: 1720-1730Medium: Pen and brown ink, brush and gray wash, over traces of leadpoint or graphiteAccession: 46.161On view in:Not on view