DOI Heft:
No. 366 (September 1923)
DOI Artikel:Levetus, A. S.: Bernardo Belotto Canaletto in Vienna
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21398#0145
BERNARDO BELOTTO CANALETTO
“THE LIECHTENSTEIN PALACE
VIENNA*” OIL PAINTING BY
BERNARDO BELOTTO CANALETTO-
(Liechtenstein Collection, Vienna)
He painted chiefly in Venice, Dresden,
Vienna, Munich and Warsaw, always
restricting himself to prospects of cities.
According to Walpole he spent two
years in London, but no particulars of
his stay there are given. Probably,
however, it was between the years 1758
and 1760. He must have come to
Vienna a few years later, after he had
settled down in Dresden, where, under
the protection of the king and his despotic
minister, Heinrich von Briihl, he became
quite famous. On the flight of the king to
Warsaw Canaletto took refuge in Vienna.
It is not known whether the Empress
Maria Theresa invited him there, but at any
rate she employed him to paint several
views of the city, some of which are here
reproduced, with the exception of that in
the Liechtenstein Gallery. He then returned
to Dresden, but, failing to regain his footing
in that city, he settled down in Warsaw,
where he ended his days. 000
As an artist Canaletto is interesting
historically rather than from the artistic
point of view. His paintings are records of
cities which would have passed into
oblivion were it not for his pictures of
them. Though as a rule that atmospheric
effect is lacking which is so great a charm
in painting, the accuracy of his drawing
and treatment of light and shade in some
degree compensate for this. He had a fine
eye for the decorative in choosing his
themes, he aimed at the precise rendering
of the subject and strove to give those
details of architecture which are of so high
a value in depicting buildings which are to
a large extent past and gone. Unfortu-
nately he left no pictorial descriptions of
the fortifications of the city and the part
they played in the Viennese life of that day.
As a colourist he is wanting in warmth ;
nevertheless his pictures reveal a fine
feeling for tonality. His treatment on the
whole is broad and sure, it is also natural.
Time has lent mellowness to his tints. He
had a faithful brush, an exact eye and a
willing hand. 00000
Many old cities might be grateful for
a Canaletto, with his faithful pictorial
records of their former life. 0 0
125
“THE LIECHTENSTEIN PALACE
VIENNA*” OIL PAINTING BY
BERNARDO BELOTTO CANALETTO-
(Liechtenstein Collection, Vienna)
He painted chiefly in Venice, Dresden,
Vienna, Munich and Warsaw, always
restricting himself to prospects of cities.
According to Walpole he spent two
years in London, but no particulars of
his stay there are given. Probably,
however, it was between the years 1758
and 1760. He must have come to
Vienna a few years later, after he had
settled down in Dresden, where, under
the protection of the king and his despotic
minister, Heinrich von Briihl, he became
quite famous. On the flight of the king to
Warsaw Canaletto took refuge in Vienna.
It is not known whether the Empress
Maria Theresa invited him there, but at any
rate she employed him to paint several
views of the city, some of which are here
reproduced, with the exception of that in
the Liechtenstein Gallery. He then returned
to Dresden, but, failing to regain his footing
in that city, he settled down in Warsaw,
where he ended his days. 000
As an artist Canaletto is interesting
historically rather than from the artistic
point of view. His paintings are records of
cities which would have passed into
oblivion were it not for his pictures of
them. Though as a rule that atmospheric
effect is lacking which is so great a charm
in painting, the accuracy of his drawing
and treatment of light and shade in some
degree compensate for this. He had a fine
eye for the decorative in choosing his
themes, he aimed at the precise rendering
of the subject and strove to give those
details of architecture which are of so high
a value in depicting buildings which are to
a large extent past and gone. Unfortu-
nately he left no pictorial descriptions of
the fortifications of the city and the part
they played in the Viennese life of that day.
As a colourist he is wanting in warmth ;
nevertheless his pictures reveal a fine
feeling for tonality. His treatment on the
whole is broad and sure, it is also natural.
Time has lent mellowness to his tints. He
had a faithful brush, an exact eye and a
willing hand. 00000
Many old cities might be grateful for
a Canaletto, with his faithful pictorial
records of their former life. 0 0
125