Views of Venice by Canaletto and His Rivals in Landmark Exhibition at National Gallery of Art, Washington, the Sole U.S. Venue After returning from Rome in 1719, he began painting in his topographical style. [8] His first known signed and dated work is Architectural Capriccio (1723, Milan, in a private collection). [1] Studying with the older Luca Carlevarijs, a well-regarded painter of urban cityscapes, [8] [9] he rapidly became his master's equal.

W. G. Constable. Canaletto: Giovanni Antonio Canal, 1697–1768. Ed. J. G. Links. 2nd ed., reissued with supplement and additional plates. Oxford, 1989, vol. 1, pp. xlvii, 110–15, pl. 50; vol. 2, pp. 277, 305–6, no. 240. Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 91, ill. Vittorio Moschini. Canaletto. French ed. (Italian ed., 1954). Milan, 1955, pp. 22, 30, 38, suggests a date of about 1741 for the Harvey series, relating the pictures to Canaletto's etchings, specifically the lagoon capriccio of 1741.Pietro Zampetti. I vedutisti veneziani del Settecento. Exh. cat., Palazzo Ducale. Venice, 1967, p. 150, under no. 68, p. 154, under no. 69, dates the series 1730–35. Venice: Canaletto and His Rivals' presents the finest view paintings of one of the world’s most enthralling and beautiful cities. As well as celebrating the great works of Canaletto, one of the best-loved artists in Britain, the exhibition highlights the exceptional achievements of his now less well-known rivals and associates. Antonio Canaletto; Antonio Visentini (1971). Views of Venice: By Canaletto. Courier Dover Publications. ISBN 978-0-486-22705-4.

Katharine Baetjer in "Recent Acquisitions, A Selection: 1988–1989." Metropolitan Museum of Art Bulletin 47 (Fall 1989), pp. 32–33, ill. (color), notes that it is the first picture of the piazza to depict Andrea Tirali's white geometric pavement, completed in 1723; dates the painting on stylistic grounds closer to 1730, pointing out the "loose, ragged brushwork and the high key".

Caird Library Visit the world's largest maritime library and archive collection at the National Maritime Museum Find sources: "List of works by Canaletto"– news · newspapers · books · scholar · JSTOR ( October 2022) ( Learn how and when to remove this template message) J. G. Links. A Supplement to W. G. Constable's Canaletto: Giovanni Antonio Canal, 1697–1768. London, 1998, p. 20. Formerly Rodolphe Kann, Paris; Henry Oppenheimer, London; Mrs. Eric Oppenheimer (sale, Christie's, London, June 21, 1968, no. 87, as by Canaletto, for 18,000 gns. to Assheton-Bennett); Mrs. E. M. Assheton-Bennett, London (posthumous sale, Christie's, London, November 26, 1976, no. 26, as by Bellotto, bought in; sale, Christie's, New York, June 15, 1977, no. 92, as by Bellotto, bought in). Oil on canvas, 23 1/4 x 35 7/8 in. (59 x 91 cm). By Bellotto, ca. 1737–40. Constable and Links 1989, no. 240(c).

Canaletto’s harmonious views of Venice established his reputation as a leading view painter. He would travel around the city making pencil sketches, which he would later work up in his studio. Lionello Puppi in The Complete Paintings of Canaletto. New York, 1968, p. 101, no. 118A, ill., as an autograph work by Canaletto, whereabouts unknown; dates it 1731–35. Many of his pictures were sold to Englishmen on their Grand Tour, often through the agency of the merchant Joseph Smith (who was later appointed British Consul in Venice in 1744). It was Smith who acted as an agent for Canaletto, first in requesting paintings of Venice from the painter in the early 1720s and helping him to sell his paintings to other Englishmen. Canaletto (1697–1768) is Venice's most famous view painter. His drawings and paintings record cityscapes that are familiar and loved throughout the world, none more so than his works recording his native Venice. His lively yet elegant paintings, drawings and etchings were enthusiastically collected by foreign patrons, among them Joseph Smith, the British consul to Venice, who later sold his collection to King George III. As a result, the Royal Collection now includes the largest and finest collection of Canaletto's works in existence.Furness, Hannah. (14 April 2017). "Royal Collection uses infrared to prove Canaletto did not trace his drawings". The Daily Telegraph.

Constable, W.G (1962). Canaletto, Giovanni Antonio Canal 1697-1768, Volume One: Life and Work, The Plates. Oxford, Clarendon Press. p.9. ISBN 0198173245.All eyes are on the one-oared gondolas ( battelli) racing up the middle of the canal. Just right of centre two craft swing around the bend, tilted and almost touching; the boatmen strain against their oars, trying to catch up with the leaders who are approaching the Rialto Bridge in the distance. Another boat enters the scene on the far right. Spectators watch from the Macchina and cheer from windows hung with multi-coloured banners and from the vessels lining the banks of the canal. Lavishly decorated bissone (eight- or ten-oared boats) carry Venetian nobles, who recline on velvet cushions, and rowers in colourful uniforms. Some of these boats are adorned with mythological figures and animals, others have an oriental theme. This style is known as veduta, or ‘view painting’. It emerged during the 17th century, and involves depicting cityscapes and urban landmarks in remarkable detail.