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Museo Nacional Thyssen-Bornemisza, Madrid
Michele Marieschi

The Grand Canal with Santa Maria della Salute

ca. 1738 - 1740
Oil on canvas.
83.5 x 121 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
281
(
1970.9
)
Temporary Exhibition Halls
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop
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Discover some of the secrets and details invaluable to the human eye in this work.
Some of the information known regarding the training and early years of this short-lived artist is to be found in Orlandi’s Abecedario Pittorico. Aside from that source, the earliest information available to us links Marieschi with the world of theatrical set design and temporary architecture, areas in which he worked in Venice in the early 1730s, after which he focused his activities on painting and printmaking. Marieschi may have spent time in Gaspare Diziani’s studio while he was an apprentice. Other areas of his career are also problematic, including the dating of his works as well as the nature of his collaboration with his closest assistant, Francesco Albotto, who on Marieschi’s death continued to imitate his style, a fact that has made the latter’s work more difficult to attribute. Marieschi may have decided to focus on capriccios and views of Venice as a result of Canaletto’s success in this genre, considering that he would enjoy the patronage of the same group of clients who purchased works by the great Venetian master. In addition to making a close study of Canaletto’s work, Marieschi also looked to Luca Carlevarijs and Marco Ricci, particularly their capriccios. Among his patrons was Marshal Von Schulenburg (an important patron of Ceruti), for whom Marieschi painted a series of views.

The present The Grand Canal with Santa Maria della Salute entered the Thyssen-Bornemisza collection in 1970. It was previously in the collection of Dimitri Tziracopoulo in Athens, and had been studied by Constable, who included it in his monograph on Canaletto of 1962, before it entered the Collection. The painting has been dated to Marieschi’s last phase, around 1738–40 and is considered to be an autograph work by the artist.

Marieschi depicted this stretch of the Grand Canal on various occasions and in several versions. In this work the artist presents a frontal view dominated by Santa Maria della Salute, one of the city’s most celebrated buildings together with the Piazza San Marco and the Doge’s Palace. The church, designed by Baldassare Longhena, was consecrated in 1687 and was erected in thanks to the Virgin for the end of an outbreak of the plague that had affected the city between 1629 and 1630. In the present canvas Marieschi emphasizes the church’s great dome as well as the highly distinctive volutes crowned by sculptures beneath it. The massive building is framed on either side by the abbey of San Gregorio and the Patriarchal Seminary. In front of the building is the Canal, animated by numerous gondolas and elegantly dressed figures that take part in a water-borne procession, indicated by the presence of a banner with the image of the Virgin on the boat at the right edge. Marieschi used a lighter palette than Canaletto, as can be seen in the sky and the façades of the buildings, in addition to favouring more panoramic compositions. Among the other known versions of this painting is a notable example in the Art Institute of Chicago.

Mar Borobia
18th Century18th Century - Italian paintingPaintingOilcanvas
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The Grand Canal with Santa Maria della Salute. El Gran Canal con Santa María della Salute, c. 1738-1740
The Grand Canal with Santa Maria della Salute
Michele Marieschi

©

Museo Nacional Thyssen-Bornemisza, Madrid

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The Grand Canal with Santa Maria della Salute. El Gran Canal con Santa María della Salute, c. 1738-1740
The Grand Canal with Santa Maria della Salute
Michele Marieschi

©

Museo Nacional Thyssen-Bornemisza, Madrid

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