Davide Dotti
The Venetian landscape painting takes as its subject one of the most fascinating cities in the world. Melting pot of art, culture, religions, businesses, monuments and breathtaking views, Venice has attracted travellers, merchants, scholars and especially painters, who fixed on canvas squares, churches, canals, lights, reflections and the changing atmosphere of this place out of time.
Over the centuries the city has been so often immortalized by Italian and foreign artists to result in the birth of landscape painting, iconographic genre particularly appreciated by educated and wealthy travellers on the Grand Tour, eager to return home with a faithful snapshot of the beauties admired in Italy.
Until June 12, 2016, Palazzo Martinengo welcomes a selection of masterpieces by Canaletto, Bellotto, Guardi and the most important painters of the eighteenth and nineteenth centuries, from public and private Italian and European collections, some new and others never exhibited in public, that show how the luck of the genre did not end with the decadent views by Francesco Guardi in the late eighteenth century, but had still extraordinary vitality throughout the nineteenth century...
The Venetian landscape painting takes as its subject one of the most fascinating cities in the world. Melting pot of art, culture, religions, businesses, monuments and breathtaking views, Venice has attracted travellers, merchants, scholars and especially painters, who fixed on canvas squares, churches, canals, lights, reflections and the changing atmosphere of this place out of time.
Over the centuries the city has been so often immortalized by Italian and foreign artists to result in the birth of landscape painting, iconographic genre particularly appreciated by educated and wealthy travellers on the Grand Tour, eager to return home with a faithful snapshot of the beauties admired in Italy.
Until June 12, 2016, Palazzo Martinengo welcomes a selection of masterpieces by Canaletto, Bellotto, Guardi and the most important painters of the eighteenth and nineteenth centuries, from public and private Italian and European collections, some new and others never exhibited in public, that show how the luck of the genre did not end with the decadent views by Francesco Guardi in the late eighteenth century, but had still extraordinary vitality throughout the nineteenth century...