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. Much of Canaletto's early artwork was painted "from nature", differing from the then customary practice of completing paintings in the studio. it is like Carlevaris, but you can see the sun shining in it." Outdoor painting 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. Studying with the older Luca Carlevarijs, a well-regarded painter of urban cityscapes, he rapidly became his master's equal. His first known signed and dated work is Architectural Capriccio (1723, Milan, in a private collection).
Ĭanaletto was inspired by the Roman vedutista Giovanni Paolo Pannini, and started painting the daily life of the city and its people.Īfter returning from Rome in 1719, he began painting in his topographical style. During his time in Rome he worked with his father producing the scenery for two operas by the composer Alessandro Scarlatti, Tito Sempronio Greco and Turno Aricino which were performed at the Teatro Catranica during the carnival season of 1720.
Canaletto served an apprenticeship with his father and his brother of a theatrical scene painter. He was born in Venice as the son of the painter Bernardo Canal, hence his mononym Canaletto ("little Canal"), and Artemisia Barbieri. The Entrance to the Grand Canal, Venice, c.
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