Show Notes: s2e37 The Venetians, Canaletto
In s2e37, Ann and Tru continue their History-of-Prints conversation about Venice in the 18th century. This is part two of three in which we talk about Canaletto. While often remembered as a topographical painter of postcards, Canaletto was, in fact, a master of curated reality. In this segment, they examine how Canaletto transformed the ordinary streets and canals of Venice into grand, cinematic scenes. Whether using the camera obscura to manipulate perspective or painting en plein air, he captured the "Venetian Vibe" with a meticulous yet lively brush. We take a deep dive into his Capricci—imaginative visions and cityscapes that felt more like Venice than the city itself—and discuss how his work became the ultimate souvenir for travelers seeking to bottle the spirit of the floating city.
Giovanni Paolo Panini (Italian, 1691–1765). Interior of the Pantheon, Rome, c. 1734. Oil on canvas. 50 3/8 x 39 in. National Gallery of Art, Washington, D.C.
Canaletto (Venetian, 1697–1768). Architectural Capriccio with Classical Ruins, 1723. Oil on canvas. 70 ¾ x 127 ¼ in. Sotheby’s.
Canaletto (Venetian, 1697–1768). Santi Giovanni e Paolo e la Scuola di San Marco, c. 1725. 125 x 165 cm. Gemäldegalerie Alte Meister, Dresden.
Canaletto (Venetian, 1697–1768). The Square of Saint Mark’s Venice, 1742/44. Oil on canvas. 45 1/8 x 60 ¼ in. National Gallery of Art, Washington, D.C.
Antonio Maria Visentini (Venetian, 1688–1782) after Giovanni Battista Piazzetta (Venetian, 1682–1754). Portraits of Canaletto and Visentini, from the series Venetian Views after Canaletto, 1735. Etching. Plate: 10 11/16 x 16 7/8 in.; sheet: 15 1/8 × 21 3/8 in. Metropolitan Museum of Art, New York.
Antonio Maria Visentini (Venetian, 1688–1782). Title page for Venetian Views after Canaletto, 1742. Etching. Sheet: 15 x 21 in. Royal Collection Trust.
Antonio Maria Visentini (Venetian, 1688–1782). Bucentaurus et Nundinae Venetae in die Ascensionis, plate XIV from Venetian Views after Canaletto, 1742. Etching. Sheet: 15 x 21 in. Royal Collection Trust.
Canaletto (Venetian, 1697–1768). The Bacino di San Marco on Ascension Day, c. 1733–34. Oil on canvas. 76.8 x 125.4 cm. Royal Collection Trust.
Canaletto (Venetian, 1697–1768). Venice, the Return of the Bucintoro on Ascension Day, c. 1732. Oil on canvas. 33 7/8 x 54 3/8 in. Christie’s.
Canaletto (Venetian, 1697–1768). The Bucentaur Returning to the Molo on Ascension Day, c. 1740. Oil on canvas. Collection of the Earl of Leicester, Holkham Hall, Norfolk.
Canaletto (Venetian, 1697–1768). Title Plate from Vedute altre prese da i luoghi altre ideate da Antonio Canal, c. 1735/46. Etching. 29.7 x 43.2 cm. National Gallery of Art, Washington, D.C.
Canaletto (Venetian, 1697–1768). Imaginary View of Venice (The House with the Inscription and The House with the Peristyle), 1741. Etching. Plate: 11 3/4 x 17 in.; sheet: 12 15/16 x 18 3/8 in. Hood Museum of Art, Dartmouth College, Hanover, NH.
Canaletto (Venetian, 1697–1768). The Portico with the Lantern, c. 1735/46. Etching. National Gallery of Art, Washington, D.C.
Canaletto (Venetian, 1697–1768). Landscape with Ruined Monuments, c. 1735/46. Etching. National Gallery of Art, Washington, D.C.
Canaletto (Venetian, 1697–1768). Landscape with the Pilgrim at Prayer, c. 1735/46. Etching. National Gallery of Art, Washington, D.C.
Canaletto (Venetian, 1697–1768). Mountain Landscape with Five Bridges, c. 1735/46. Etching. National Gallery of Art, Washington, D.C.
Canaletto (Venetian, 1697–1768). Venice: The Libreria and Molo, c. 1734. Pen and ink over graphite. 18.8 x 27.1 cm. Royal Collection, London.
Canaletto (Venetian, 1697–1768). Capriccio with Loggetta of Sansovino as Portico of an Imaginary Gothic Tower. Pen and brown ink and gray washes over black chalk. 31.1 x 46.4 cm. Sotheby’s.
Canaletto (Venetian, 1697–1768). La libreria. V., in or before 1742. Etching. National Gallery of Art, Washington, D.C.
Curator / Podcaster / Fair Organizer
Ann Shafer is an independent curator, art historian, and a leading expert on the legacy of Stanley William Hayter and Atelier 17. As the creator and host of the Platemark podcast, she bridges the gap between technical print scholarship and the global community of artists and collectors.
Ann previously served as Associate Curator of Prints, Drawings, and Photographs at the Baltimore Museum of Art and has held curatorial positions at the Whitney Museum of American Art and the National Gallery of Art. She holds a BA from The College of Wooster and an MA from Williams College. Today, she channels her three decades of expertise into organizing the Brooklyn Fine Art Print Fair, co-editing a major centennial festschrift on Atelier 17, and leading curated art history tours across Europe. (Photo credit: Becky Redett)
Show Notes: s3e106 with David Barthold
