Avenida Central, Rio de Janeiro, Brasil

Avenida Central, Rio de Janeiro, Brasil
Rio de Janeiro - RJ
Fotografia - Cartão Postal

Pavilhão de Vesta, Praça Justo Chermont, Belém, Pará, Brasil

Pavilhão de Vesta, Praça Justo Chermont, Belém, Pará, Brasil
Belém - PA

N. 4
Fotografia - Cartão Postal

Câmara Municipal, Salvador, Bahia, Brasil

Câmara Municipal, Salvador, Bahia, Brasil
Salvador - BA

N. 14
Fotografia - Cartão Postal

Palácio Monroe, Rio de Janeiro, Brasil

Palácio Monroe, Rio de Janeiro, Brasil
Rio de Janeiro - RJ
N. 128
Fotografia - Cartão Postal

Praça do Palácio, Parada 7 de Setembro, São Paulo, Brasil - Guilherme Gaensly

Praça do Palácio, Parada 7 de Setembro, São Paulo, Brasil - Guilherme Gaensly
São Paulo - SP
Cartão Postal Série Iª. N. 10 BIS
Fotografia - Cartão Postal

Salto de Votorantim, Votorantim, São Paulo, Brasil - Guilherme Gaensly

Salto de Votorantim, Votorantim, São Paulo, Brasil - Guilherme Gaensly
Votorantim - SP
Cartão Postal Série Iª. N. 43
Fotografia - Cartão Postal

Arco de Tito, Roma, Itália

Arco de Tito, Roma, Itália
Roma - Itália
Fotografia

Panorama de Veneza a Partir da Ilha de S. Giorgio, Veneza, Itália - Carlo Naya

Panorama de Veneza a Partir da Ilha de S. Giorgio, Veneza, Itália - Carlo Naya
Veneza - Itália

N. 1
Fotografia - Cartão Postal

Bacino de San Marco, Veneza, Itália (Bacino di San Marco) - Giovanni Antonio Canal "Canaletto"

Bacino de San Marco, Veneza, Itália (Bacino di San Marco) - Giovanni Antonio Canal "Canaletto"
Veneza - Itália
Museum of Fine Arts, Boston, Estados Unidos
OST - 125x205 - 1738

In the 18th century, a foreign visitor to Venice would have been astounded by the sprawling view Canaletto captures here. The urban center was arguably the bacino, the city’s bay and main harbor; water and boats were central to Venetian life and commerce. Here, Dutch and English flags fly on ships in the mid-ground, underscoring the city’s cosmopolitan nature. Although Canaletto painted his cityscapes with great precision, he also allowed himself to take liberties with the details of a scene and combined several viewpoints in order to produce a more “picturesque” composition.

Chegada do Embaixador Francês em Veneza, Itália (Reception of the French Ambassador in Venice) - Giovanni Antonio Canal "Canaletto"

Chegada do Embaixador Francês em Veneza, Itália (Reception of the French Ambassador in Venice) - Giovanni Antonio Canal "Canaletto"
Veneza - Itália
Museu Hermitage, São Petersburgo, Rússia
OST - 180x259 - 1735

In the 18th century the Venetian school of painting flourished brightly, but for the last time, and gave the world several virtuoso artists. One of them was Antonio Canal, better known as Canaletto. He was a superb master of the veduta genre, the accurate urban landscape. This large canvas, The Reception of the French Ambassador in Venice, recorded a real-life event – the arrival of the French envoy, Count Languet de Gergy, who was met on the embankment next to the Palace of the Doges by officials of the republic accompanied by guards. With documentary precision the artist recorded all the details of this colourful occasion, beginning with the luxurious boats decorated with gilded carving in which the ambassador and his retinue arrived. Such spectacles were an inseparable part of life for the Queen of the Adriatic and were never short of spectators. There are plenty of those in the painting, watching from the gallery of the palace, the bridge and gondolas. Among them are Venetian nobles whose dress often included a mask, merchants from the Orient, monks and common people. Ruling over this motley crowd is Venice which is not a setting, but the main protagonist in the work. Look at the passion with which the artist presents the beauty of its architecture, the uniqueness of its damp atmosphere and the play of shadows on its walls. Fascinated by his native city, Canaletto devoted his entire oeuvre to it and it seems there is not a single corner of Venice that he did not capture with his brush.