Giovanni Antonio Canal (18 October 1697 – 19 April 1768), commonly known as Canaletto (Italian: [kanaˈletto]), was an Italian painter of city views or vedute, of Venice, Rome, and London. He also painted imaginary views (referred to as capricci), although the demarcation in his works between the real and the imaginary is never quite clearcut. He was further an important printmaker using the etching technique. In the period from 1746 to 1756 he worked in England where he painted many views of London and other sites including Warwick Castle and Alnwick Castle. He was highly successful in England, thanks to the British merchant and connoisseur Joseph "Consul" Smith, whose large collection of Canaletto's works was sold to King George III in 1762.
Giovanni Antonio Canal
18 October 1697
|Died||19 April 1768 (aged 70)|
|Known for||Landscape art, etching|
He was born in Venice as the son of the painter Bernardo Canal, hence his mononym Canaletto ("little Canal"), and Artemisia Barbieri. Canaletto served his apprenticeship with his father and his brother. He began in his father's occupation, that of a theatrical scene painter. Canaletto was inspired by the Roman vedutista Giovanni Paolo Pannini, and started painting the daily life of the city and its people.
After returning from Rome in 1719, he began painting in his topographical style. His first known signed and dated work is Architectural Capriccio (1723, Milan, in a private collection). Studying with the older Luca Carlevarijs, a well-regarded painter of urban cityscapes, he rapidly became his master's equal.
In 1725, the painter Alessandro Marchesini, who was also the buyer for the Lucchese art collector Stefano Conti, had inquired about buying two more 'views of Venice', when the agent urged him to consider instead the work of "Antonio Canale... it is like Carlevaris, but you can see the sun shining in it."
Much of Canaletto's early artwork was painted "from nature", differing from the then customary practice of completing paintings in the studio. Some of his later works do revert to this custom, as suggested by the tendency for distant figures to be painted as blobs of colour – an effect possibly produced by using a camera obscura, which blurs farther-away objects – although research by art historians working for the Royal Collection in the United Kingdom has shown Canaletto almost never used a camera obscura.
However, his paintings are always notable for their accuracy: he recorded the seasonal submerging of Venice in water and ice.
Canaletto's early works remain his most coveted and, according to many authorities, his best. One of his early pieces is The Stonemason's Yard (c. 1725, the National Gallery, London) which depicts a humble working area of the city. It is regarded one of his finest works and was presented by Sir George Beaumont in 1823 and 1828.
Later Canaletto painted grand scenes of the canals of Venice and the Doge's Palace. His large-scale landscapes portrayed the city's pageantry and waning traditions, making innovative use of atmospheric effects and strong local colours. For these qualities, his works may be said to have anticipated Impressionism.
Many of his pictures were sold to Englishmen on their Grand Tour, first through the agency of Owen Swiny and later the banker Joseph Smith, appointed British Consul in Venice in 1744. It was Swiny in the late 1720s who encouraged the artist to paint small topographical views of Venice with a commercial appeal for tourists and foreign visitors to the city. Sometime before 1728, Canaletto began his association with Joseph Smith, an English businessman and collector living in Venice, who later became the artist's principal agent and patron. Smith eventually acquired nearly fifty paintings, one hundred fifty drawings, and fifteen rare etchings from Canaletto, the largest and finest single group of the artist's works, that he sold to King George III in 1763.
In the 1740s Canaletto's market was disrupted when the War of the Austrian Succession led to a reduction in the number of British visitors to Venice. Smith also arranged for the publication of a series of etchings of "capricci" (or architectural phantasies) (capriccio Italian for fancy) in his vedute ideale, but the returns were not high enough, and in 1746 Canaletto moved to London, to be closer to his market.
He remained in England until 1755, producing views of London (including several of the new Westminster Bridge, which was completed during his stay) and of his patrons' castles and houses. His 1754 painting of Old Walton Bridge includes an image of Canaletto himself.
He was often expected to paint England in the fashion with which he had painted his native city. Canaletto's painting began to suffer from repetitiveness, losing its fluidity, and becoming mechanical to the point that the English art critic George Vertue suggested that the man painting under the name 'Canaletto' was an impostor. Historian Michael Levey described his work from this period as "inhibited".
The artist was compelled to give public painting demonstrations in order to refute this claim; however, his reputation never fully recovered in his lifetime.
After his return to Venice, Canaletto was elected to the Venetian Academy in 1763 and appointed prior of the Collegio dei Pittori. He continued to paint until his death in 1768. In his later years he often worked from old sketches, but he sometimes produced surprising new compositions. He was willing to make subtle alterations to topography for artistic effect.
Joseph Smith sold much of his collection to George III, creating the bulk of the large collection of works by Canaletto owned by the Royal Collection. in 1762, George III paid £20,000 for Consul Smith's collection of 50 paintings and 142 drawings. There are many examples of his work in other British collections, including several (19) at the Wallace Collection and a set of 24 in the dining room at Woburn Abbey. A large set of Canaletto works was also part of the collection of the Earls of Carlisle, however many were lost at the 1940 fire of Castle Howard and others were sold over the last century. Among those formerly at the Carlisle collection are "The Bacino di San Marco: looking East", now at the Museum of Fine Arts, Boston (sold in 1939) and the pair "Entrance to the Grand Canal from the Molo, Venice" and "The Square of Saint Mark's, Venice", now at the National Gallery of Art, Washington DC (sold in 1938). The last important venetian veduta at Castle Howard was by Bernardo Bellotto, "A View of the Grand Canal Looking South from the Palazzo Foscari", which was sold at Sotheby's in July 2015 for £2.6 million.
Canaletto's views always fetched high prices, and as early as the 18th century Catherine the Great and other European monarchs vied for his grandest paintings. The record price paid at auction for a Canaletto is £18.6 million for View of the Grand Canal from Palazzo Balbi to the Rialto, set at Sotheby's in London in July 2005.
|Piazzetta in Venice||1700s||Alte Pinakothek, Munich, Germany|
|Venice: the Grand Canal||1700s||LLL Art Galleries|
|Capriccio with Gothic church and lagoon||c. 1720-21||Galleria d'Italia - Palazzo Leoni Montanari, Vicenza|
|Grand Canal, Looking Northeast from Palazo Balbi toward the Rialto Bridge||1720–23||Ca' Rezzonico, Venice, Italy|
|San Cristoforo, San Michele and Murano from the Fondamenta Nuove, Venice||1722–23||Dallas Museum of Art, Dallas, Texas, United States|
|Piazza San Marco in Venice looking West with the Campanile||1723||House of Liechtenstein, Liechtenstein|
|The Piazzetta towards San Giorgio Maggiore||c. 1724||Royal Collection, Buckingham Palace, England|
|Venice: The Grand Canal, Looking North East from Palazzo Balbi to the Rialto Bridge||c. 1724||Private collection|
|Piazza San Marco Looking East along the Central Line||1723–24||Thyssen-Bornemisza Museum, Madrid, Spain|
|Grand Canal, Looking East from the Campo San Vio||1723–24||Thyssen-Bornemisza Museum, Madrid, Spain|
|Rio dei Mendicanti||1723–24||Ca' Rezzonico, Venice, Italy|
|The Stonemason's Yard||c. 1725||National Gallery, London, England|
|Rio dei Mendicanti: Looking South||c. 1725||Gemäldegalerie Alte Meister, Dresden, Germany|
|Entrance To The Grand Canal Looking East||1725||Gemäldegalerie Alte Meister, Dresden, Germany|
|The Parvis of the churches Saint Jean and Saint Paul||1725||Gemäldegalerie Alte Meister, Dresde|
|View of the Grand Canal||late 1720s||Birmingham Museum of Art, Birmingham, Alabama, United States|
|Grand Canal: Looking from Palazzo Balbi||c. 1726||Gemäldegalerie Alte Meister, Dresden, Germany|
|Grand Canal: Looking North from Near the Rialto Bridge||c. 1726||Gemäldegalerie Alte Meister, Dresden, Germany|
|San Giacomo di Rialto||c. 1726||Gemäldegalerie Alte Meister, Dresden, Germany|
|The Bacino di San Marco, Venice||1725–26||Farnborough Hall, Warwickshire|
|The Grand Canal near San Maria della Carità||1726||Pinacoteca Giovanni e Marella Agnelli, Turin, Italy|
|Santi Giovanni e Paolo and the Scuola di San Marco||1726||Private collection|
|The Bacino di San Marco, Venice, Seen from the Giudecca||1726||Upton House, National Trust, England|
|Venice: the Grand Canal Looking North from the Rialto||1726–27||Royal Collection, Windsor Castle, England|
|The Reception of the French Ambassador Jacques–Vincent Languet, Comte de Gergy at the Doge’s Palace, Venice||1726–27||Hermitage Museum, Saint Petersburg, Russia|
|Venice: S. Geremia and the Entrance to the Cannaregio||1726–27||Royal Collection, Windsor Castle, England|
|Grand Canal. The Rialto Bridge from the South||1727||Private collection|
|Venice: The Grand Canal from the Palazzo Vendramin-Calergi towards S. Geremia||1727–28||Royal Collection, Windsor Castle, England|
|View of the Isles of San Michele, San Cristoforo and Murano from the Fondamenta Nuove||1725–28||Hermitage Museum, Saint Petersburg, Russia|
|View of Church of San Giovanni dei Battuti on the Isle of Murano||1725–28||Hermitage Museum, Saint Petersburg, Russia|
|A View of Dolo on the Brenta Canal||1725–29||Ashmolean Museum, Oxford, England|
|The Doge's Palace, Venice||c. 1730||Fitzwilliam Museum, Cambridge, England|
|The Doge's Palace and Riva degli Schiavoni, Venice||c. 1730||Tatton Park, National Trust, England|
|View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo||c. 1730||Fitzwilliam Museum, Cambridge, England|
|The Entrance to the Grand Canal, Venice||c. 1730||Museum of Fine Arts, Houston, Houston, United States|
|The Grand Canal, Piazzetta and Dogana, Venice||c. 1730||Tatton Park, National Trust, England|
|Stonemason's Yard||1726–30 (or 1727)||National Gallery, London, England|
|Venice: the Grand Canal with S. Maria della Salute towards the Riva degli Schiavoni||1730||Royal Collection, Windsor Castle, England|
|The Bacino di San Marco, Looking North||1730||National Museum, Cardiff, Wales|
|S. Geremia and the Entrance to the Cannaregio||1730||National Gallery, London, England|
|The Piazzetta, Venice, Looking North||1730s||Norton Simon Museum, Pasadena, California|
|The Molo Seen from the Bacino di San Marco||1730s||Musée du Louvre, Paris, France|
|Return of the Bucintoro to the Molo on Ascension Day||1729–1732||Royal Collection, Windsor Castle, England|
|The Molo, Venice||c. 1735||Kimbell Art Museum, Fort Worth, Texas, United States|
|View of the Piazzetta San Marco Looking South||c. 1735||Indianapolis Museum of Art, Indianapolis, Indiana, United States|
|The Bucintoro Returning to the Molo||1730–35||Bowes Museum, Barnard Castle, England|
|Piazza San Marco, Venice||1730–35||Harvard Art Museums, Cambridge, United States|
|A Regatta on the Grand Canal||1730–35||Bowes Museum, Barnard Castle, England|
|A View of the Rialto, Venice||1734–35||Sir John Soane's Museum, London, England|
|The Piazza di San Marco, Venice||1734–35||Sir John Soane's Museum, London, England|
|Venice: A Regatta on the Grand Canal||1735||National Gallery, London, England|
|View of the Riva degli Schiavoni||1736||Sir John Soane's Museum, London, England|
|St. Mark's and the Clock Tower, Venice||1737||National Gallery of Canada, Ottawa, Canada|
|The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola||c. 1738||The J. Paul Getty Museum, Los Angeles|
|Santi Giovanni e Paolo and the monument to Bartolomeo Colleoni||1735–38|
|The St Mark's Square, Venice||1738–40||Detroit Institute of Arts, Detroit, Michigan, United States|
|Bacino di San Marco||1738–40||Museum of Fine Arts, Boston, United States|
|Il Bucintoro al molo nel giorno dell'Ascensione||c. 1740||Pinacoteca Giovanni e Marella Agnelli, Turin, Italy|
|Venice: The Campo SS. Giovanni e Paolo||1740||Royal Collection, Windsor Castle, England|
|Venice: The Basin of San Marco on Ascension Day||1740||National Gallery, London, England|
|Venice: Santa Maria della Salute||1740||Metropolitan Museum of Art, New York City, United States|
|A Regatta on the Grand Canal||1740||National Gallery, London, England|
|View of Piazza San Marco in Venice||c. 1740||Musée Jacquemart André, Paris, France|
|The Rialto Bridge in Venice||c. 1740||Musée Jacquemart André, Paris, France|
|The Porta Portello, Padua||1741–42||National Gallery of Art, Washington D.C., United States|
|Rome: The Arch of Constantine||1742||Royal Collection, Windsor Castle, England|
|Rome: The Arch of Septimius Severus||1742||Royal Collection, Windsor Castle, England|
|Rome: The Arch of Titus||1742||Royal Collection, Windsor Castle, England|
|Rome: Ruins of the Forum looking towards the Capitol||1742||Royal Collection, Windsor Castle, England|
|Rome: The Pantheon||1742||Royal Collection, Windsor Castle, England|
|Rome: View of the Colosseum and the Arch of Constantine||1743||Royal Collection, Windsor Castle, England|
|Venice: the Bacino di San Marco from San Giorgio Maggiore||1735–44||Wallace Collection, London, England|
|The Square of Saint Mark's, Venice||1742–44||National Gallery of Art, Washington D.C., United States|
|Entrance to the Grand Canal from the Molo, Venice||1742–44||National Gallery of Art, Washington D.C., United States|
|Venice: the Molo with Santa Maria della Salute||1740–45||Wallace Collection, London, England|
|Venice: the Riva degli Schiavoni||1740–45||Wallace Collection, London, England|
|View of the Grand Canal looking toward the Punta della Dogana from Campo Sant'Ivo||c. 1740-45||Pinacoteca di Brera, Milan, Italy|
|Prà della Valle in Padua||1741–46||Museo Poldi Pezzoli, Milan, Italy|
|London: The Thames on Lord Mayor's Day||1746–47||Lobkowicz Palace, Prague, Czech Republic|
|London seen through an arch of Westminster Bridge||1746–47||Syon House, London|
|Ruins with Figures||1747||Fitzwilliam Museum, Cambridge, England|
|Ruins with Figures (companion of the above)||1747||Fitzwilliam Museum, Cambridge, England|
|London: River Thames looking towards Westminster from Lambeth||1747||Lobkowicz Palace, Prague, Czech Republic|
|The South Façade of Warwick Castle||1748||Thyssen-Bornemisza Museum, Madrid, Spain|
|Warwick Castle||1748–49||Yale Center for British Art, New Haven, United States|
|The Thames at Westminster, London||1749||Penrhyn Castle, National Trust, Gwynedd, Wales|
|The Bucintoro||1745–50||Thyssen-Bornemisza Museum, Madrid, Spain|
|The Molo from the Basin of San Marco, Venice||1747–50||San Diego Museum of Art, San Diego, California|
|A View of the Molo and the Riva degli Schiavone in Venice||1750||Yale University Art Gallery, New Haven, United States|
|Bacino di S. Marco: From the Piazzetta||1750||National Gallery of Victoria, Melbourne, Australia|
|The Bucintoro at the Molo on Ascension Day||1760||Dulwich Picture Gallery, London, England|
|View of the Grand Canal from Campo San Vio||1740–50||Ca' Rezzonico, Venice, Italy|
|Venice: the Grand Canal from the Palazzo Foscari to the Carità||1740–50||Wallace Collection, London, England|
|Venice: the Grand Canal from the Palazzo Dolfin-Manin to the Rialto Bridge||1740–50||Wallace Collection, London, England|
|Venice: the Grand Canal from the Palazzo Flangini to San Marcuola||1740–50||Wallace Collection, London, England|
|Venice: the Canale di Santa Chiara||1740–50||Wallace Collection, London, England|
|The Thames from the Terrace of Somerset House, Looking toward St. Paul's||1750||Yale Center for British Art, New Haven, United States|
|The Thames from the Terrace of Somerset House, Looking toward Westminster||1750||Yale Center for British Art, New Haven, United States|
|The Rialto Bridge and The Church of S. Giorgio Maggiore||c. 1750||North Carolina Museum of Art, Raleigh, North Carolina, United States|
|London: The Thames from Somerset House Terrace towards Westminster||1750–51||Royal Collection, Windsor Castle, England|
|London: The Thames from Somerset House Terrace towards the City||1750–51||Royal Collection, Windsor Castle, England|
|Chelsea from the Thames at Battersea Reach||1751||Blickling Hall, National Trust, Norfolk, England|
|Alnwick Castle||1752||Alnwick Castle, Northumberland, England|
|Greenwich Hospital from the North Bank of the Thames||c. 1752||National Maritime Museum, Greenwich, London, England|
|Warwick Castle, the East Front||1752||Birmingham Museum and Art Gallery, Birmingham, England|
|Warwick Castle, the East Front from the Courtyard||1752||Birmingham Museum and Art Gallery, Birmingham, England|
|Interior of King Henry VII Chapel||1753||Museum of London, London, England|
|English Landscape Capriccio with a Column||1754||National Gallery of Art, Washington D.C., United States|
|English Landscape Capriccio with a Palace||1754||National Gallery of Art, Washington D.C., United States|
|London: Interior of the Rotunda at Ranelagh||1754||National Gallery, London, England|
|St. Paul's Cathedral||1754||Yale Center for British Art, New Haven, United States|
|A View of Walton Bridge||1754||Dulwich Picture Gallery, London, England|
|Eton College||1754||National Gallery, London, England|
|Old Walton Bridge||1755||Yale Center for British Art, New Haven, United States|
|Saint Mark's, Venice||c. 1756||Fitzwilliam Museum, Cambridge, England|
|Interior Court of the Doge's Palace, Venice||c. 1756||Fitzwilliam Museum, Cambridge, England|
|Venice: Palazzo Grimani||1756–58||National Gallery, London, England|
|Piazza San Marco Looking East from the North-West Corner||c. 1760||National Gallery, London, England|
|Venice: the Grand Canal from Campo San Vio towards the Bacino||1734–60||Wallace Collection, London, England|
|The Campo di Rialto and S. Giacomo di Rialto, Venice||1760||National Gallery of Canada, Ottawa, Canada|
|Porta Portello, Padua||1760||Thyssen-Bornemisza Museum, Madrid, Spain|
|Venice: the Grand Canal with Santa Maria della Salute towards the Riva degli Schiavoni||1734–62||Wallace Collection, London, England|
|Venice: the Grand Canal from the Palazzo Foscari to the Carità||1734–62||Wallace Collection, London, England|
|London: Northumberland House||1753–63||Wallace Collection, London, England|
|Perspective with a Portico||1765||Gallerie dell'Accademia, Venice, Italy|
|Capriccio with Colonnade in the Interior of a Palace||1765||Thyssen-Bornemisza Museum, Madrid, Spain|
|The School of San Marco||1765||Thyssen-Bornemisza Museum, Madrid, Spain|
|The Square and the church San Francesco della Vigna||?||Private collection, Milan|
The 2015 Epsom Derby (known as the Investec Derby for sponsorship reasons) was the 236th annual running of the Derby horse race and took place at Epsom Downs Racecourse on 6 June 2015. The race was won by the favourite, Golden Horn, a British-bred bay colt, owned by Anthony Oppenheimer, trained in Newmarket, Suffolk by John Gosden and ridden by Frankie Dettori. The colt's win was the first for his owner, the second for Dettori (after Authorized in 2007) and the second for Gosden (after Benny the Dip in 1997).Bernardo Bellotto
Bernardo Bellotto, (c. 1721/2 or 30 January 1721 – 17 November 1780), was an Italian urban landscape painter or vedutista, and printmaker in etching famous for his vedute of European cities (Dresden, Vienna, Turin and Warsaw). He was the pupil and nephew of the famous Giovanni Antonio Canal Canaletto and sometimes used the latter's illustrious name, signing himself as Bernardo Canaletto. In Germany and Poland, Bellotto called himself by his uncle's name, Canaletto.
Bellotto's style was characterized by elaborate representation of architectural and natural vistas, and by the specific quality of each place's lighting. It is plausible that Bellotto, and other Venetian masters of vedute, may have used the camera obscura in order to achieve superior precision of urban views.Fitzwilliam Museum
The Fitzwilliam Museum is the art and antiquities museum of the University of Cambridge. It is located on Trumpington Street opposite Fitzwilliam Street in central Cambridge. Founded in 1816, the Fitzwilliam Museum includes one of the best collections of antiquities and modern art in western Europe. With over half a million objects and artworks in its collections, the displays in the Museum explore world history and art from antiquity to the present. The treasures of the museum include artworks by Monet, Picasso, Rubens, Vincent van Gogh, Rembrandt, Cézanne, Van Dyck, and Canaletto, as well as a winged bas-relief from Nimrud. Admission to the public is always free.The museum is a partner in the University of Cambridge Museums consortium, one of 16 Major Partner Museum services funded by Arts Council England to lead the development of the museums sector.Francesco Guardi
Francesco Lazzaro Guardi (Italian pronunciation: [franˈtʃesko ˈgwardi]; 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, along with his brothers, of the classic Venetian school of painting.
In the early part of his career he collaborated with his older brother Gian Antonio in the production of religious paintings. After Gian Antonio's death in 1760, Francesco concentrated on veduta. The earliest of these show the influence of Canaletto, but he gradually adopted a looser style characterized by spirited brush-strokes and freely imagined architecture.History of Italian culture (1700s)
The 1700s refers to a period in Italian history and culture which occurred during the 18th century (1700–1799): the Settecento. The Settecento saw the transition from Late Baroque to Neoclassicism: great artists of this period include Vanvitelli, Canaletto and Canova, as well as the composer Vivaldi and the writer Goldoni.Island Gardens
Island Gardens is a public park located at the southern end of the Isle of Dogs—hence the name 'Island'—in the London Borough of Tower Hamlets on the north bank of the River Thames. The park was formally opened on 3 August 1895 by local politician Will Crooks.
The 1.12-hectare (2.8-acre) waterside park is notable for its spectacular cross-river view of the classical buildings of the former Greenwich Hospital, the Cutty Sark and the National Maritime Museum, with Greenwich Park forming a backdrop. The northern entrance of the Greenwich foot tunnel is also within the park. It is almost certain that the view from this location is the one that the Canaletto painting 'Greenwich Hospital from the North Bank of the Thames' is taken from, though whether Canaletto himself actually visited the site is in doubt.The park also gave its name to Island Gardens DLR station. This opened in 1987 as the southern terminus of the DLR's initial system, and was an elevated terminal station situated to the west of the park. The later construction of the DLR extension to Lewisham involved a tunnel under the Thames, and Island Gardens station was relocated about 100 metres (330 ft) north, close to the northern entrance to the tunnel by Millwall Park. The new station is largely underground; the original elevated station was demolished.Joseph Smith (art collector)
Joseph Smith often known as Consul Smith, (c. 1682 – Venice, 6 November 1770), the British consul at Venice, 1744–1760, was a patron of artists, most notably Canaletto, and a collector and connoisseur, banker to the British community at Venice and a major draw on the British Grand Tour. His collection of drawings were bought for George III of Great Britain and form a nucleus of the Royal Collection of drawings in the Print Room at Windsor Castle.Kingswood, Buckinghamshire
Kingswood is a hamlet of 30 dwellings on the South side of the A41 from Waddesdon to Bicester and between the villages of Ludgershall and Grendon Underwood in Buckinghamshire, England. Kingswood is also a civil parish within Aylesbury Vale district. Parish matters are currently administered via a parish meeting. There is one Italian restaurant and public house, Canaletto which opened in 2013. There is also a derelict Village Hall blown down in the Great Storm of 1987.Krakowskie Przedmieście
Krakowskie Przedmieście (Polish pronunciation: [kraˈkɔfskʲɛ pʂɛdˈmjɛɕt͡ɕɛ], literally: Kraków suburb; French: Faubourg de Cracovie) is one of the best known and most prestigious streets of Poland's capital Warsaw, surrounded by historic palaces, churches and manor-houses. Krakowskie Przedmieście Royal Avenue constitutes the northernmost part of Warsaw's Royal Route, and links the Old Town and Royal Castle (at Castle Square) with some of the most notable institutions in Warsaw, including – proceeding southward – the Presidential Palace, Warsaw University, and the Polish Academy of Sciences headquartered in the Staszic Palace. The immediate southward extension of Krakowskie Przedmieście along the Royal Route is ulica Nowy Świat (New World Street).
Several other Polish cities also have streets named Krakowskie Przedmieście. In Lublin, it is the main and most elegant street. Other cities include Piotrków Trybunalski, Bochnia, Krasnystaw, Olkusz, Sieradz and Wieluń.Luca Carlevarijs
Luca Carlevarijs or Carlevaris (20 January 1663 – 12 February 1730) was an Italian painter and engraver working mainly in Venice. He pioneered the genre of the cityscapes (vedute) of Venice, a genre that was later widely followed by artists such as Canaletto and Francesco Guardi.Miodowa Street (Warsaw)
Miodowa (lit. Honey Street) is a street in Warsaw's Old Town. More precisely, it links the Krakowskie Street in [with the Krasiński Square. It is also the name of a street in the Kazimierz district in Kraków.Old Walton Bridge
Old Walton Bridge is the name given to the first Walton Bridge built across the River Thames between Walton-on-Thames and Shepperton in Surrey, England (the latter then in Middlesex). The wooden bridge was completed in 1750, was painted by Canaletto and stood until 1783 when, in decay, it was dismantled to make way for a stone-clad brickwork replacement, later painted by Turner.Slavi Trifonov
Stanislav Todorov Trifonov (Bulgarian: Станислав Тодоров Трифонов) (born 18 October 1966), known as Slavi Trifonov (Bulgarian: Слави Трифонов), is a Bulgarian showman, actor, singer, and viola player, born in Pleven (Bulgarian: Плевен), Bulgaria. Trifonov is active mainly in the folk music (pop-folk) genres but he has experimented with other genres such as hip-hop collaborating with the Australian based producer Yasen Subev, pop-rock and punk as a part of Ku-Ku Band (Bulgarian: Ку-Ку Бенд). His name is associated mainly with the Slavi's Show, Exiles, Canaletto and KU-KUThe Doge on the Bucintoro near the Riva di Sant'Elena
The Doge on the Bucintoro near the Riva di Sant'Elena (also known as The Departure of the Bucentaur for the Ascension Day Ceremony, and other similar titles) is an oil on canvas by Venetian painter Francesco Guardi, a member of the Venetian School. It was painted between 1766 and 1770, and is now in the Louvre in Paris.
This work is one of a series of twelve paintings representing the Solennità dogali (The Doge's Solemnities), in which the artist has faithfully copied the scenes drawn by Giovanni Antonio Canal and engraved by Giambattista Brustolon to commemorate the festivities at the coronation of the Doge Alvise Giovanni Mocenigo, in 1763. This has led to some confusion, and the canvases were formerly attributed to Canaletto, though their style was quite unmistakably that of Guardi.The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola
The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola is a painting by Canaletto in the J. Paul Getty Museum in Los Angeles, California. Painted around 1738, it may have been commissioned by the English merchant and art collector Joseph Smith (1682–1770).The Stonemason's Yard
The Stonemason's Yard (formally known as Campo S. Vidal and Santa Maria della Carità) is an early oil painting by Giovanni Antonio Canal, better known as Canaletto. It depicts an informal scene in Venice, looking over a temporary stonemason's yard in the Campo San Vidal and across the Grand Canal towards the church of Santa Maria della Carità. Painted in the mid to late 1720s, it is considered one of Canaletto's finest works.Uki-e
Uki-e (浮絵, "floating picture", implying "perspective picture") refers to a genre of ukiyo-e pictures that employs western conventions of linear perspective. Although they never constituted more than a minor genre, pictures in perspective were drawn and printed by Japanese artists from their introduction in the late 1730s through to the mid-nineteenth century.Around 1739, Okumura Masanobu studied European engravings to learn the rules of perspective. His engravings found their way to Japan either through Dejima or China. Masanobu was the first to apply the term Uki-e to perspective images, and Utagawa Toyoharu fully developed the form in the late 1750s when he produced colored woodblock copies of engravings after Canaletto and Guardi. Toyoharu was also the first to adapt these techniques to Japanese subjects.
The interior of Kabuki theaters was a common subject in Uki-e prints. Interior scenes tend to be favored as it is easier to accurately apply one point perspective to architecture than to landscape.Veduta
A veduta (Italian for "view"; plural vedute) is a highly detailed, usually large-scale painting or, more often, print of a cityscape or some other vista. The painters of vedute are referred to as vedutisti.Ōban Star-Racers
Ōban Star-Racers (オーバン・スターレーサーズ, Ōban Sutā Rēsāzu) is a French-Japanese anime series created by Savin Yeatman-Eiffel of Sav! The World Productions in association with multiple international companies. Originally produced as a short movie titled Molly Star Racer, a television series was developed in cooperation with Jetix Europe, with animation production by HAL Film Maker and Pumpkin 3D, a large portion of which was done in Tokyo, Japan. It aired in more than 100 countries including Japan. In the US, the series aired on ABC Family and Jetix/Toon Disney between June and December 2006.
A potential sequel or spinoff is currently in development.