Venetian painting of the 18th century скачать в хорошем качестве

Venetian painting of the 18th century

Source of inspiration:    • Экскурсия с Викторией Марковой: венецианск...   Focuses on the works of Canaletto and the Guardi brothers, highlighting the development of Venetian landscape painting (vedute and capriccio) and the historical context of 18th-century Venice. The tour begins in one of the large, magnificent rooms dedicated to 17th- and 18th-century Italian painting. The most significant part of the collection here is a large painting in the center of the Canaletto room (Antonio Canal). Canaletto is considered one of the greatest painters of world painting of the 18th century and devoted his life to depicting cityscapes, known as vedute, primarily of Venice. The key work is "The Return of Bucintoro to the Mole near the Doge's Palace" (Возвращение Бучинтору к молу у дворца Дожий). It depicts a historically significant, real event that reflects the restoration of relations between France and the Venetian Republic. The veduta (cityscape) is an accurate depiction of urban views, often created using a camera obscura (dark chamber) to accurately depict buildings and perspectives. This genre was extremely successful and in demand in the 18th century. Surprisingly, few paintings by Canaletto can be found in Venetian museums today. This is because the commissioners were usually foreigners. These included politicians, merchants, collectors, and, above all, tourists who wanted to take home a souvenir of this unique city. The English, in particular, distinguished themselves as collectors. English collections therefore now contain large quantities of outstanding works by Canaletto. Canaletto himself was later invited to England and created a series of English landscapes there. In addition to the large canvas, the Pushkin Museum collection also includes two remarkable, smaller cabinet pieces by Canaletto, typical of his private commissions. These were acquired by foreigners and the numerous tourists, as at that time, tourism was becoming fashionable among the European aristocracy, and visiting Venice was almost obligatory for education. These smaller works do not depict solemn Venice, but rather the lagoon islands and the surrounding area, for example, with a view of the Arsenal or a defunct church. They are topographically accurate, with the artist enlivening the scenes with figures from everyday life, going about their work or strolling. These paintings convey the atmosphere of the unique Venice at a natural pace of life, before mass tourism transformed the city. In addition to Canaletto, the museum also houses works by other 18th-century Venetian masters who devoted themselves to the vedute or the related genre of capriccio. Capricci are imaginary landscapes. Here, the artist combines real views, buildings, and locations with invented elements, or he interprets the exact scenery to give it a special, individual, and atmospheric atmosphere. Francesco Guardi is considered an outstanding master of the capriccio and one of Italy's last important painters. His work conveys an atmosphere of decline and nostalgia for the past, shortly before the Venetian Republic (which existed for 1,000 years) lost its independence in 1799. His paintings are valued primarily for their special mood and atmosphere, not for their topographical accuracy. A small painting by Guardi depicts the Piazzetta (the "little piazza" next to St. Mark's Square). It includes the Doge's Palace, its two famous columns, the Biblioteca Marciana, and Sansovino's Loggetta. The quickly painted, lively figures appear to move, bringing the urban wonder of Venice to life. In the distance, the island of San Giorgio with Palladio's Church of San Giorgio Maggiore is visible. This late work by Guardi (ca. 1770s) came to the Rumyantsev Museum in 1899 and later to the Pushkin Museum. The collection also includes two vertical capricci landscapes by Guardi, depicting motifs resembling Venice but depicting, for example, a nonexistent, destroyed arcade. These come from the well-known collection of Dmitri Ivanovich Shchukin. The tour concludes with a work by Francesco Guardi's older brother, Gian Antonio Guardi (born 1699). Gian Antonio managed the large family workshop, where the artists often collaborated. He specialized primarily in figurative compositions. His absolute masterpiece in the collection is "Alexander the Great at the Body of the Persian King Darius." This painting is emblematic of 18th-century art, in which improvisation, spontaneity, and technical virtuosity were highly valued—often more than the narrative content or the event itself. Gian Antonio Guardi’s virtuoso brushwork is reminiscent of the technical brilliance of Paganini. #Canaletto #FrancescoGuardi #GianAntonioGuardi #PaintingVenezian #PushkinMuseum