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Carmen Thyssen Collection
Master of the Langmatt Foundation Views

The Grand Canal and the Rialto Bridge, Venice, from the North

ca. 1740 - 1745
Oil on canvas.
54 x 79.4 cm
Carmen Thyssen Collection
Inv. no. (
CTB.1999.7
)
Not on display
  • 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

This painting, bought at Christie's, New York, on 29 January 1999, lot 55, can be added to the large series of works of similar characteristics which reproduce Venetian buildings in detail, and whose author is still unknown within the varied context of Venetian vedutismo, although he has been identified with reference to the important legacy of Sidney and Jenny Brown, made up of the thirteen views or vedute kept at the Swiss Langmatt Foundation in Baden.

These paintings, which can be stylistically linked to the Canalettesque works by Francesco Tironi and also, according to some critics, to those of Michele Marieschi and his pupil Francesco Albotto, are easily recognised by the marked distortion of their perspective. This device creates a wide angle effect, in which the foreground-for example the bed of the Grand Canal-is indefinitely broadened, while the background becomes smaller and narrower. Only in this aspect can the author be considered to follow the steps of Marieschi and Albotto, obtaining an arbitrary if undoubtedly suggestive image, which would hardly be found, for instance, in Canaletto.

Clearly, in this work the paint is applied with greater care than in the rough and dappled surfaces typical of this anonymous artist, very similar to those of Albotto. On the other hand, it resembles other paintings of the eponymous group in its calligraphic description of the physical aspect of the buildings, conveying in detail their decadence and even reproducing the deterioration of the plastered façades. The palette used by the artist is halfway between the models of Marieschi and Albotto, with a respectful use (if not anticipation) of the acid and cold tones of the latter, of the characteristic blue sky with creamy and white clouds or, as in this picture, with heavier clouds, of the greenish surfaces of the lagoon or of the Grand Canal, crossed by parallel white lines which suggest both light and movement of the water, or by deeper greyish lines which represent the reflection of the mooring poles or of the buildings themselves (see the Loggia which opens on the left bank of the canal).

Only through external references has it been possible to date the Langmatt series as painted at the beginning of the 1740s, that is, in the years just before and after Marieschi's death, when, Canaletto no longer alive and Guardi not yet active in this field, not even Albotto paid particular attention to vedutismo. Succi has suggested, with great reservation and with the aim of identifying the anonymous painter, the name of Apollonio Domenichini, registered in the Fraglia (Guild) of Venetian painters in 1757. For twenty years, a large number of his vedute were sent through the merchant Giuseppe Maria Sasso, his middleman, to the English collector John Strange, who had been resident in the Serenissima in 1774. Unfortunately, no work bearing the signature of this artist remains. But there is no doubt that the large series of the Langmatt vedute presupposes the direct commission of a collector wishing to own paintings offering many different views of the Venetian architecture. The close relationship between patron and artist may explain why the painter did not sign the works. However, it is also possible that a modest artist, with no special fame, as was the Master of the Langmatt vedute, may have thought it convenient, from a commercial point of view, to maintain anonymity in works which a non expert public could have considered as painted by more famous and better paid artists. We should also add that this work, undoubtedly one of the best by the Langmatt Master, is characterised by a more lively colour than usual, by a warmth of the chiaroscuro on the buildings, and by the detail of the countless figures which appear on the boats crossing the Grand Canal, walking along the Fondamenta (quay) in front of the Fabbriche Vecchie or seen below the arches of the Fondaco dei Tedeschi.

Roberto Contini
 

18th Century18th Century - Italian paintingPaintingOilcanvas
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The Grand Canal and the Rialto Bridge, Venice, from the North

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The Grand Canal and the Rialto Bridge, Venice, from the North. El Gran Canal y puente de Rialto, Venecia, vistos desde el norte, c. 1740-1745
The Grand Canal and the Rialto Bridge, Venice, from the North
Master of the Langmatt Foundation Views

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Carmen Thyssen Collection

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The Grand Canal and the Rialto Bridge, Venice, from the North. El Gran Canal y puente de Rialto, Venecia, vistos desde el norte, c. 1740-1745
The Grand Canal and the Rialto Bridge, Venice, from the North
Master of the Langmatt Foundation Views

©

Carmen Thyssen Collection

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