View of the Riva degli Schiavoni, Venice

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View of the Riva degli Schiavoni, Venice

Artist Giovanni Antonio Canal, called Canaletto (Italian (Venice), 1697-1768)

Place of OriginVenice, Italy

Datelate 1730s

DimensionsPainting: 18 1/2 × 24 7/8 in. (47 × 63.2 cm)
Frame: 25 3/4 × 32 × 3 3/4 in. (65.4 × 81.3 × 9.5 cm)

Mediumoil on canvas

ClassificationPaintings

Credit LinePurchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey

Object number

1951.404

On View

Toledo Museum of Art (2445 Monroe Street), Gallery, 26, Rotunda

Collections

Paintings

Published ReferencesDescription des tableaux et des pièces de sculpture que renferme la gallerie de son Altesse Francois Joseph, Chef et Prince Regnant de la Maison de Liechtenstein, Vienna, 1780, p. 74.

Katalog der Fürstlich Liechtensteinischen Bildergalerie im Gartenpalais der Rossau zu Wien, Vienna, 1873, p. 69, no. 591.

Ferrari, G., I due Canaletto, Turin, 1920, pl. 14.

Kronfeld, A., Führer durch die Fürstlich Liechtensteinische Gemäldegalerie in Wien, Vienna, 1927, no. 199.

Godwin, Molly Ohl, "Capolavori italiani al 'Toledo Museum of Art,'" Le Vie Del Mondo, vol. 14, 1952, p. 1156, repr. p. 1154.

Toledo Museum of Art Museum News, no. 148, October 1953, repr.

Constable, W. G., Canaletto: Giovanni Antonio Canal, 1697-1768, Oxford, 1962, I, p. 112, n. 2, and pl. 30, no. 118, II, no. 118.

Links, J. G., "The View Paintings Return to Venice," Burlington Magazine, vol. 109, no. 773, Aug. 1967, p. 457.

Rey, Jean-Dominique, "Le Tour des Exposition," Jardin des Arts, no. 156, Nov. 1967, repr. 64.

Briganti, Giuliano, I Vedutisti, Milano, Bompiani/electa, 1968, repr. (det., col.), tav. 54.

Puppi, L., The Complete Paintings of Canaletto, New York, 1968, p. 92, fig. 35, pl. XXVI.

Maxon, John, "The Golden Afternoon," Art Gallery Magazine, vol. 14, no. 1, Oct. 1970, repr. p. 77.

Sherrill, Sarah B., "Current and Coming: More Italian Art," Antiques, vol. 99, no. 2, Feb. 1971, repr. p. 174.

Fredericksen, Burton B., and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, MA, 1972, p. 43.

The Toledo Museum of Art: A Guide to the Collections, Toledo, 1976, repr. p. 47 (col.).

The Toledo Museum of Art, The Toledo Museum of Art, European Paintings, Toledo, 1976, p. 34, pl. 37.

Magugliani, Lodovico, La pittura del Giovane Canaletto (fino al 1728), Milan, 1976, p. 26.

Constable, W.G., Canaletto, 2nd ed., Oxford, 1976, vol. 1, p. 112, n. 3, and pl. 30, vol. II, no. 118, p. 244.

Morse, John D., Old Master Paintings in North America, New York, 1979, p. 44.

Gregory, Howard, Around the World, Then and Now, Redondo Beach, California, 1985, repr. p. 71.

Koch-Hillebrecht, Manfred, Museen in den USA: Gemalde, Munich, 1992, p. 232.

Agnew's 1892-1992, London, 1992, p. 196, 208, pl. 188, p. 207.

Pedrocco, Filippo, Canaletto e i vedutisti veneziani, Milan, 1995, p. 48, fig. 55 (col.), p. 46.

"A Summer of Classical Art at the Hood Museum of Art," and "Fine Arts," Upper Valley Magazine, vol. 9, no. 3, May/June 1995, pp. 62, 65, repr. p. 64 (det., col.).

Toledo Museum of Art, Toledo Museum of Art Masterworks, Toledo, 2009, p. 195, repr. (col.).

Exhibition HistoryDetroit, Detroit Institute of Art, Venice, 1700-1800, 1952, no. 11, repr.

Indianapolis, Indianapolis Museum of Art, 1952.

Baltimore, Baltimore Museum of Art, Age of Elegance: The Rococo and its Effect, 1959, no. 181.

Venice, Palazzo Ducale, I vedutisti veneziani del settecento, 1967, no. 52, repr. and pl. 10 (det.) (cat. by P. Zampetti).

Venizia, Direzione Belle Arti, 1967.

Chicago, Art Institute of Chicago, Painting in Italy in the Eighteenth Century: Rococo to Romanticism, 1970, no. 17, repr. (cat. entry by B. Hannegan).

Minneapolis, Minneapolis Institute of Arts, 1970.

Dallas, Southern Methodist University, Meadows Museum, 1979.

New York, Metropolitan Museum of Art, Canaletto, 1989, no. 54, p. 201, repr. (col.).

Hanover, Hood Museum of Art, Two Views of Italy: Master Prints by Canaletto and Piranesi, 1995, no. 32, pp. 15, 18, 71, nos. 4, 93, fig. 3, p. 16.

Label TextIn the age of the Grand Tour—travel to the famous sites of continental Europe that marked the “finishing touch” of every young gentleman’s education—art became the ultimate souvenir. Born Antonio Canal, Canaletto was the most distinguished 18th-century Italian painter who specialized in vedute (views), paintings of a city or town faithful enough to identify the location. His compelling views of Venice recorded the city for wealthy tourists of the 1700s. The flicker of light on the water, the stance of the gondoliers, and the clearly delineated buildings against a crisp blue sky demonstrate his passion for details and contribute to a sense of the city extending beyond the view shown. The pink 14th-century Doge’s Palace on the left and the elevated Bridge of Sighs, just visible behind the Ponte della Paglia in the shadow to the right of the Palace, are still landmarks for visitors to Venice today. This painting is part of a series of small Venetian views that were originally in the collection of Prince Josef Wenzel of Liechtenstein (1696–1772).