34src: https://emuseum.cornell.edu/internal/media/dispatcher/68131/fullAl Dolo (At Dolo)ca. 1740–1746Antonio Canaletto56.37718196179956.377_Disc0335_03355012Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68130/fullAle Porte del Dolo (At the Dolo Locks)ca. 1740–46Antonio Canaletto56.37618182979856.376_Disc0335_03355011Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68207/fullThe Bishop's Tombca. 1740 - 1746Antonio Canaletto57.158 b197677120257.158_b_Disc0070_0070501657.158_b_Disc17_029Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68872/fullA Bishop's Tomb with a View of a Townca. 1740 - 1746Antonio Canaletto64.0062194360454864.0062_Disc0335_03355017Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68134/fullFantastic View of Paduaca. 1740 - 1746Antonio Canaletto56.38018147380256.380_Disc0335_03355014Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/69336/fullFrontispiece, Views of Veniceca. 1741Antonio Canaletto69.0811868607932Antonio Canaletto Venice 1697–1768 Venice Plates from Vedute altre prese da i luoghi altre ideate da Antonio Canal e da esso intagliate poste in prospetiva (Views, some taken on site and others imagined by Antonio Canal and made in perspective by the same), published after June 6, 1744 cat. nos. 30–39 Frontispiece ca. 1744 Etching Plate: 11 3/4 x 17 1/8 inches (29.8 x 43.5 cm) Sheet: 16 3/8 x 20 5/8 inches (41.6 x 52.4 cm) P. & G. 1 first state, Montecuccoli degli Erri 1, first editorial state of four (printed 1752–1754/55) Membership Purchase Fund 69.081 69.081_Disc0335_03355018Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/70497/fullLandscape with Dungeon and Two Columns in RuinAntonio Canaletto95.088.0011930032870995.088.001_Disc0005_00055026Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68211/fullLandscape with Ruinsca. 1740 - 1746Antonio Canaletto57.161196102120757.161_Disc0070_00705019Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68203/fullThe Left Half of the Fantastic View of Venice—The House with the Inscription MDCCXLI AC 1741Antonio Canaletto57.1571963361200Antonio Canaletto Venice 1697–1768 Venice Plates from Vedute altre prese da i luoghi altre ideate da Antonio Canal e da esso intagliate poste in prospetiva, published after June 6, 1744 cat. nos. 30–39 The Left Half of the Fantastic View of Venice—The House with the Inscription MDCCXLI A.C. 1741 Etching Plate (partial): 11 7/8 x 8 9/16 inches (30.2 x 21.7 cm) Sheet: 14 3/8 x 10 1/8 inches (36.5 x 25.7 cm) P. & G. 12a only state; Montecuccoli degli Erri 12, only editorial state (printed 1752–59) Bequest of William P. Chapman, Jr., Class of 1895 57.15757.157_Disc0070_00705014Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68137/fullLa Libreria, Venice (The Library, Venice)ca. 1740–46Antonio Canaletto56.38319689980456.383_Disc0070_00705012Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68205/fullThe Little Monumentca. 1740 - 1746Antonio Canaletto57.158 a193000120157.158_a_Disc0070_0070501557.158_a_Disc17_028Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/69353/fullLe Marché sur le Mole [Market on the Mole]ca. 1740 - 1746Antonio Canaletto69.128 d1846787976Antonio Canaletto Venice 1697–1768 Venice Plates from Vedute altre prese da i luoghi altre ideate da Antonio Canal e da esso intagliate poste in prospetiva, published after June 6, 1744 cat. nos. 30–39 The Market on the Molo ca. 1740–46 Etching Plate: 5 5/8 x 8 1/4 inches (14.3 x 20.1 cm) P. & G. 21 Montecuccoli degli Erri 28, first editorial state of two (printed 1772 or 1778) Membership Purchase Fund 69.128d Along with his many vedute, Canaletto painted and etched a number of imaginary views, or capricci. In this series of four plates printed on the same sheet, he combines the two genres in a way that is almost convincing. Venice did not exist in the period of the Western Roman Empire; hence, it contains no Roman ruins. Yet, in this “view” of San Giacomo di Rialto, Canaletto invents a Roman past for his city by placing three columns and a statue, apparent survivals of an imposing Roman temple, on the square in front of an accurately portrayed Venetian church of the eighteenth century. Likewise, an Egyptian obelisk of the type seen in Roman piazze, surmounted with a papal orb and cross, peeks over the wall of the otherwise Venetian scene in The Terrace. Were these attempts to link the glories of La Serenissima with those of ancient Rome, statements of the relation between invention and topographical realism in the art of the vedutista, or just a bit of visual humor? In most of Canaletto’s vedute, human figures and activities are clearly secondary to the representation of the physical city. In his etching of The Market at Dolo, however, the dominance is reversed, and the focus is on the market as a beehive of human activity. Appropriately, the point of view is slightly lower than in most of Canaletto’s views, just a little above eye level, and the figures are clustered much closer to the picture plane. The only structures (save for one of the two columns of the piazzetta, barely incorporated on the far right) are in the far distance, across the Bacino from the crowd gathered on the Molo. Stuart M. Blumin69.128_d_Disc0335_0335502269.128_d_D0612_008Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68539/fullMestreca. 1740 - 1746Antonio Canaletto62.0917197678312562.0917_Disc8061_80615016Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68983/fullPaysage Alpestre avec Trois Pontsca. 1740 - 1746Antonio Canaletto65.077197327658065.077_Disc0070_00705024Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68550/fullPaysage avec una femme puisante (Landscape with a Woman Drawing Water)ca. 1740 - 1746Antonio Canaletto62.2403195700363162.2403_Disc0070_00705021Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68549/fullPaysage avec un Donjon et deux Piliers en Ruinsca. 1740 - 1746Antonio Canaletto62.2402193891363062.2402_Disc0070_00705020Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/69388/fullPaysage avec une Statue Équestre (Landscape with Equestrian Statue)ca. 1740 - 1746Antonio Canaletto70.056196900831770.056_Disc0070_00705025Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68871/fullLa Pelerin en Prière (Pilgrim at Prayer)ca. 1740 - 1746Antonio Canaletto64.0061197326454764.0061_Disc0070_00705023Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68138/fullLa Piera del Bando, Venice (The Doges' Palace)ca. 1740 - 1746Antonio Canaletto56.38419732480556.384_Disc0070_00705013Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68538/fullLe Porte Del Dolo [The Lock at Dolo]ca. 1740 - 1746Antonio Canaletto62.09161952133400562.0916_Disc8061_80615015Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68135/full[Portico with Lantern]ca. 1740 - 1746Antonio Canaletto56.38119389052056.381_Disc8037_80375027Antonio CanalettoLe Porto del DoloAntonio Canaletto62.24041913563632Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68599/fullPrà della Valle, Paduaca. 1740 - 1746Antonio Canaletto63.0221959641812863.022_Disc0335_03355016Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68136/fullLe Preson, Venice (The Prison, Venice)ca. 1740 - 1746Antonio Canaletto56.38219732380356.382_Disc0070_00705011Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/69393/fullLe Procuratie Nuove e S. Ziminian V., The Procuratie Nuove on the Piazza S. Marco and San Geminianoca. 1740–1746Antonio Canaletto71.087193002858971.087_Disc0070_00705026Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68752/fullThe Right Half of the Fantastic View of Venice—The House with the Porch with Six Columns 1741Antonio Canaletto63.161197325534963.161_Disc0070_00705022Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68132/fullS. Giustina in Prà della Vale, Paduaca. 1740 - 1746Antonio Canaletto56.37818434680056.378_Disc0335_03355013Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/69341/fullLa Terrasse (The Terrace)ca. 1740 - 1746Antonio Canaletto69.128 a1846777974Antonio Canaletto Venice 1697–1768 Venice Plates from Vedute altre prese da i luoghi altre ideate da Antonio Canal e da esso intagliate poste in prospetiva, published after June 6, 1744 cat. nos. 30–39 The Terrace ca. 1740–46 Etching Plate: 5 5/8 x 8 1/4 inches P. & G. 18; Montecuccoli degli Erri 19, first editorial state of two (printed 1772 or 1778) Membership Purchase Fund 69.128a Along with his many vedute, Canaletto painted and etched a number of imaginary views, or capricci. In this series of four plates printed on the same sheet, he combines the two genres in a way that is almost convincing. Venice did not exist in the period of the Western Roman Empire; hence, it contains no Roman ruins. Yet, in this “view” of San Giacomo di Rialto, Canaletto invents a Roman past for his city by placing three columns and a statue, apparent survivals of an imposing Roman temple, on the square in front of an accurately portrayed Venetian church of the eighteenth century. Likewise, an Egyptian obelisk of the type seen in Roman piazze, surmounted with a papal orb and cross, peeks over the wall of the otherwise Venetian scene in The Terrace. Were these attempts to link the glories of La Serenissima with those of ancient Rome, statements of the relation between invention and topographical realism in the art of the vedutista, or just a bit of visual humor? In most of Canaletto’s vedute, human figures and activities are clearly secondary to the representation of the physical city. In his etching of The Market at Dolo, however, the dominance is reversed, and the focus is on the market as a beehive of human activity. Appropriately, the point of view is slightly lower than in most of Canaletto’s views, just a little above eye level, and the figures are clustered much closer to the picture plane. The only structures (save for one of the two columns of the piazzetta, barely incorporated on the far right) are in the far distance, across the Bacino from the crowd gathered on the Molo. Stuart M. Blumin69.128_a_Disc0335_0335501969.128_a_D0612_005Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68133/fullLa Torre di Malghera (The Tower of Malghera)ca. 1740 - 1746Antonio Canaletto56.37919767680156.379_Disc8037_80375026Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68210/fullVarious Pieces of Sculpture (one of three fragments of: View of a town with the tomb of a bishop)ca. 1740 - 1746Antonio Canaletto57.159198816120457.159_Disc0070_00705018Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68175/fullView of a Town on a River Bank (On the Brenta Canal)ca. 1740 - 1746Antonio Canaletto57.1261825513103757.126_Disc0335_03355015Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/69345/fullLa Villa au de lá d'une riviére [The Market at Dolo]ca. 1740 - 1746Antonio Canaletto69.128 b1872897975Antonio Canaletto Venice 1697–1768 Venice Plates from Vedute altre prese da i luoghi altre ideate da Antonio Canal e da esso intagliate poste in prospetiva, published after June 6, 1744 cat. nos. 30–39 The Market at Dolo ca. 1740–46 Etching Plate: 5 5/8 x 8 1/4 inches (14.3 x 20.1 cm) P. & G. 19; Montecuccoli degli Erri 20, first editorial state of two (printed 1772 or 1778) Membership Purchase Fund 69.128b Along with his many vedute, Canaletto painted and etched a number of imaginary views, or capricci. In this series of four plates printed on the same sheet, he combines the two genres in a way that is almost convincing. Venice did not exist in the period of the Western Roman Empire; hence, it contains no Roman ruins. Yet, in this “view” of San Giacomo di Rialto, Canaletto invents a Roman past for his city by placing three columns and a statue, apparent survivals of an imposing Roman temple, on the square in front of an accurately portrayed Venetian church of the eighteenth century. Likewise, an Egyptian obelisk of the type seen in Roman piazze, surmounted with a papal orb and cross, peeks over the wall of the otherwise Venetian scene in The Terrace. Were these attempts to link the glories of La Serenissima with those of ancient Rome, statements of the relation between invention and topographical realism in the art of the vedutista, or just a bit of visual humor? In most of Canaletto’s vedute, human figures and activities are clearly secondary to the representation of the physical city. In his etching of The Market at Dolo, however, the dominance is reversed, and the focus is on the market as a beehive of human activity. Appropriately, the point of view is slightly lower than in most of Canaletto’s views, just a little above eye level, and the figures are clustered much closer to the picture plane. The only structures (save for one of the two columns of the piazzetta, barely incorporated on the far right) are in the far distance, across the Bacino from the crowd gathered on the Molo. Stuart M. Blumin69.128_b_Disc0335_0335502069.128_b_D0612_006Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/69349/fullVue Fantastique de San Giacomo di Rialto [Fantastic View of San Giacomo di Rialto]ca. 1740 - 1746Antonio Canaletto69.128 c18561431149Antonio Canaletto Venice 1697–1768 Venice Plates from Vedute altre prese da i luoghi altre ideate da Antonio Canal e da esso intagliate poste in prospetiva, published after June 6, 1744 cat. nos. 30–39 Fantastic View of San Giacomo di Rialto ca. 1740–46 Etching Plate: 5 5/8 x 8 1/4 inches (14.3 x 20.1 cm) P. & G. 20 Montecuccoli degli Erri 27, first editorial state of two (printed 1772 or 1778) Membership Purchase Fund 69.128c Along with his many vedute, Canaletto painted and etched a number of imaginary views, or capricci. In this series of four plates printed on the same sheet, he combines the two genres in a way that is almost convincing. Venice did not exist in the period of the Western Roman Empire; hence, it contains no Roman ruins. Yet, in this “view” of San Giacomo di Rialto, Canaletto invents a Roman past for his city by placing three columns and a statue, apparent survivals of an imposing Roman temple, on the square in front of an accurately portrayed Venetian church of the eighteenth century. Likewise, an Egyptian obelisk of the type seen in Roman piazze, surmounted with a papal orb and cross, peeks over the wall of the otherwise Venetian scene in The Terrace. Were these attempts to link the glories of La Serenissima with those of ancient Rome, statements of the relation between invention and topographical realism in the art of the vedutista, or just a bit of visual humor? In most of Canaletto’s vedute, human figures and activities are clearly secondary to the representation of the physical city. In his etching of The Market at Dolo, however, the dominance is reversed, and the focus is on the market as a beehive of human activity. Appropriately, the point of view is slightly lower than in most of Canaletto’s views, just a little above eye level, and the figures are clustered much closer to the picture plane. The only structures (save for one of the two columns of the piazzetta, barely incorporated on the far right) are in the far distance, across the Bacino from the crowd gathered on the Molo. Stuart M. Blumin69.128_c_Disc0335_0335502169.128_c_D0612_007Antonio Canalettosrc: https://emuseum.cornell.edu/internal/media/dispatcher/68209/fullA Wagon Passing over a Bridgeca. 1740 - 1746Antonio Canaletto57.158 c193001120357.158_c_Disc0070_0070501757.158_c_Disc17_030Antonio Canaletto