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Todas las subastas / Varios / Scuola Veneziana (XIX-XX) - Venezia, Santa Maria della salute
Suggestive view of Venice from the late 19th century, painted in oil on panel, depicting one of the most famous and fascinating panoramas of the lagoon city. The composition is dominated by the monumental silhouette of the Basilica of Santa Maria della Salute, recognizable by its characteristic domes, set in the celebrated scene at the entrance to the Grand Canal and the Basin of Saint Mark, near the Punta della Dogana. This is a place particularly dear to the Venetian painting tradition and replicated countless times over the centuries. Guglielmo Ciardi also tackled views of the Basin of Saint Mark including Punta della Dogana and Santa Maria della Salute. In the foreground the painter animates the surface of the water with gondolas and small boats, while on the left a large sail appears in vivid reds, oranges and yellows—a chromatic element that immediately catches the eye and balances the composition. Particularly interesting is the painting technique. The view is not constructed through a minute, photographic description of the architectures: instead the painter proceeds through short overlaid brushstrokes, quick touches, and an evident painting matter, letting color and light suggest buildings, figures, and the movement of the water. Seen up close, the lagoon surface appears almost like a mosaic of blues, greens, turquoise, ochre, pink, and whites, while as the viewing distance increases the individual color touches recombine to give life to the reflections on the water. Even the gondolas are obtained through a few bold marks, without lingering on detail. A similar approach characterizes the architectures, built with dense and luminous brushstrokes that mainly convey the atmospheric impression of the city. The sky occupies an important part of the composition and is traversed by light cloud masses, achieved through delicate gradations of blue, gray, pink, and white. The diffused light that results wraps the entire view and contributes to the particular lagoon atmosphere of the work. Artistic framing The painting does not present a visible signature and is therefore not offered as an autograph work of a specific artist. Due to technical characteristics, subject and painting approach, the work can however be placed within Venetian and Venetian-derived painting from the late 19th to the early 20th century, with interesting echoes of the landscape research developed around the figure of Guglielmo Ciardi (Venice, 1842–1917). Ciardi, trained at the Accademia di Belle Arti di Venezia, came into contact with the Macchiaioli milieu during his stay in Florence and subsequently contributed to the renewal of Venetian landscape painting. In his lagoon views, the Venetian tradition is progressively transformed through a more modern painting, attentive to light, atmosphere, and the immediate perception of the landscape. In the works of the late 19th century the critique notes Ciardi’s progressive development of a more broken and vaporous brushwork, particularly evident in lagoon landscapes and seascapes. Interesting, in this regard, is also the immediately following generation: Beppe Ciardi (1875–1932), son and pupil of Guglielmo, developed an even freer and more vivid use of light and color; a small Punta della Dogana from 1910 is documented, also executed in oil on panel. The same lesson of Guglielmo Ciardi also influenced several Venetian painters: Vettore Zanetti Zilla, for example, initially oriented toward his lagoon landscape to later develop a painting characterized by rapid chromatic summaries, sails, boats, and Venetian landscapes. Dimensions and conservation Technique: oil on panel Proposed era: late 19th – early 20th century School: Venetian/Veneto Subject: Venice, Grand Canal/Basin of Saint Mark with Santa Maria della Salute Panel: 28 × 19 cm Frame: 39.6 × 30.5 cm Signature: not present The work is embellished by a beautiful and important ebony wooden frame, characterized by a succession of geometric mouldings and an elegant inner gold profile. The frame shows natural signs of time consistent with its age. On the back the original wooden panel and the historic fixing system to the frame are clearly visible. Overall, a small but intense view of Venice, especially pleasant for the richness of painting material, the liveliness of the lagoon reflections, and the freedom of the brushstroke, an interesting testimony of Venetian landscape painting between the late 19th and early 20th century. The numerous close-up photographs allow careful evaluation of technique, painting material, and the state of conservation of the work and the frame. Trackable insured shipping and adequate packing
Estimación:€250
Ir a la subastaEstimación:
€250
John Nieto Serigraph "God's Dog," 1996
09/27/2026
€269.28
Est.: €48.28
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