Obras na Estação da Luz, 1902, São Paulo, Brasil

Obras na Estação da Luz, 1902, São Paulo, Brasil
São Paulo - SP
Fotografia

Praça da República, 1925, Santa Cruz do Rio Pardo, São Paulo, Brasil

Praça da República, 1925, Santa Cruz do Rio Pardo, São Paulo, Brasil
Santa Cruz do Rio Pardo - SP
Fotografia

Praça da República, 1920, Santa Cruz do Rio Pardo, São Paulo, Brasil

Praça da República, 1920, Santa Cruz do Rio Pardo, São Paulo, Brasil
Santa Cruz do Rio Pardo - SP
Fotografia

Arco de Constantino, Roma, Itália (Arch of Constantine) - Giovanni Antonio Canal "Canaletto"

Arco de Constantino, Roma, Itália (Arch of Constantine) - Giovanni Antonio Canal "Canaletto"
Roma - Itália
Royal Collection Trust Palácio de Buckingham Londres
OST - 185x106 - 1742

The Emperor Constantine’s triumphal arch dates to AD 312. Canaletto based his composition on his own drawing of 1720 but reproduces the north façade of the arch as published by Desgodets in 1682 rather than the south side. The man seated beside the artist’s impressive signature, who is either drawing or making notes, may be Canaletto himself.

This painting is one of a unique group of five large upright views of Rome, depicting the major sights of the ancient city.

Unusually for Canaletto, all the works are signed and dated prominently in the foreground. It is thought that the paintings formed a special commission for Canaletto's great friend and patron Joseph Smith, British Consul in Venice, who sold his outstanding group of paintings, prints and drawings to George III. Their tall narrow format suggests that the paintings were originally designed for a specific location, probably decorating a room within Smith's palace on the Grand Canal, however the cycle does not fall into an obvious arrangement. Acquired by George III in 1762, the paintings were hung in English frames in the Entrance Hall of Buckingham House, alongside the Venetian views.
The works are of high competence, yet are not entirely typical of Canaletto. While Canaletto did visit Rome around 1720, it is unlikely that he made a return journey in the 1740s. Therefore, it is generally supposed that this painting, and the rest of the cycle, is based upon drawings made by Canaletto's nephew, Bernardo Bellotto (1720-1780), who entered his studio in the mid-1730s and had been in Rome during the relevant period. This indebtedness to Bellotto explains the treatment of the figures, the tendency towards heavy shadows, and the less-convincing three-dimensionality of the pictures, atypical of the style of Canaletto.

This painting depicts The Arch of Constantine with various onlookers and other figures in the foreground. To the right of the arch is a portion of the Colosseum, and visible through the centre archway is S. Pietro in Vincoli, indicating that this view of the arch is from the south. An inscription is visible on the arch.
Signed on a stone extreme left foreground: ANT. CANAL FECIT / ANNO MDCCXLII.

Pontiac Torpedo, Estados Unidos

Pontiac Torpedo, Estados Unidos
Propaganda

Estação de Trem Após Reforma, Atual Museu Ernesto Bertoldi, Santa Cruz do Rio Pardo, São Paulo, Brasil

Estação de Trem Após Reforma, Atual Museu Ernesto Bertoldi, Santa Cruz do Rio Pardo, São Paulo, Brasil
Santa Cruz do Rio Pardo - SP
Fotografia

Nota do blog: Foi aberta em 1908 como um ramal da Estrada de Ferro Sorocabana. Desativada em 1966. Atualmente, mesmo sendo o Museu Ernesto Bertoldi, encontra-se em péssimo estado de conservação.

Estação de Trem Antes da Reforma Pós Desativação, Santa Cruz do Rio Pardo, São Paulo, Brasil

Estação de Trem Antes da Reforma Pós Desativação, Santa Cruz do Rio Pardo, São Paulo, Brasil
Santa Cruz do Rio Pardo - SP
Fotografia

Nota do blog: Foi aberta em 1908 como um ramal da Estrada de Ferro Sorocabana. Desativada em 1966.

Estação de Trem, Santa Cruz do Rio Pardo, São Paulo, Brasil

Estação de Trem,  Santa Cruz do Rio Pardo, São Paulo, Brasil
Santa Cruz do Rio Pardo - SP
Fotografia - Cartão Postal

Nota do blog: Foi aberta em 1908 como um ramal da Estrada de Ferro Sorocabana. Desativada em 1966.

Architectural / Vista em Perspectiva com Pórtico (Architectural / Perspective View with Portico) - Giovanni Antonio Canal "Canaletto"

Architectural / Vista em Perspectiva com Pórtico (Architectural / Perspective View with Portico) - Giovanni Antonio Canal "Canaletto"
Gallerie dell'Accademia, Veneza, Itália
OST - 131x93 - 1765

If the attention of Rosalba Carriera and Pietro Longhi was drawn to the life and customs of their own day, Canaletto left for posterity a panorama of the colourfully spectacular public life of Venice, all registered in his precisely drawn and perspectively accurate scenes. He soon turned his back on the confident virtuoso displays of scenery painting and designing which he had been given a start in by his father Bernardo. And after a period in Rome where he was struck more by the objective reporting of reality by Viviano Coduzzi and painters from the Netherlands like Berkheyde than the decorative vivacity of Pannini and Van Wittel, Canaletto applied himself to setting onto canvas scenes from Venice as later he was to paint views of London and the English countryside. In these paintings he conceded nothing to the episodic and the picturesque and concentrated his clearsighted vision instead on creating a space-light synthesis of extraordinary truthfulness.

The Perspective - donated by Canaletto to the Accademia in 1765 for his admission in the capacity of a painter of perspective in September, 1763 - is a fine example of his extraordinary recreation of real data in prodigiously stylized form. Even though here the subject is drawn from the imagination, each architectural detail is a fascinating concentration of images.

   

Castelo de Alnwick, Alnwick, Inglaterra (Alnwick Castle) - Giovanni Antonio Canal "Canaletto"

Castelo de Alnwick, Alnwick, Inglaterra (Alnwick Castle) - Giovanni Antonio Canal "Canaletto"
Alnwick - Inglaterra
Coleção Privada
OST - 113x139 - Entre 1747-1752