VERMEER CANA TURNER

More documents

Recommendations

Info

The building is central‐right to the painting. Its structure consists of arches for doors and windows and smaller pillars holding the middle structure in the centre up. The pillars show a traditional Romanesque appearance, which was one of the main attributes to neoclassical paintings and artists on the Grand Tour. The fall of the shadows indicates that the San Marco view is shown in late morning light, while that of the Doge’s Palace is seen in the afternoon. The sun is supposedly beaming from the top left onto the building, creating shadows along the top of the building, right edge of the windows and darkness below in the arches to the doors. The use of chiaroscuro creates a sense of depth and liveliness to the urban surroundings and building, encouraging the image to come to life. In the centre, Canaletto portrays San Marco or translated into Saint Mark’s column. Placed to the left of Saint Mark is San Theodoro or other known as Saint Teodoro of Amasea, is hidden behind the building in this perspective. Saint Mark birth date is unknown. He was one of Christ's 70 disciples and the four evangelists, born in Cyrene, Libya. He travelled with Saint Barnabas and Saint Paul on religious missions, during which he founded the Church of Alexandria. He died in 68 A.D. In Alexandria, Egypt. His presence printed around Venice has become an iconic figure and the columns have become a gateway to the city. Until the mid‐ 18th century, where Saint Mark and Saint Teodoro have become allegorical figures for justice as criminal executions were held at the piazetta. The two columns are painted red, signifying where public executions are held. Behind the columns and Doge’s Palace, you can see the back of the cathedral of St Mark's Basilica.
On the left of the painting, Canaletto has portrayed the bell tower of St Mark's Basilica, named the San Marco Campanile. It stands above all the other buildings, making it a symbolic mark for the cityscape. It is 98.6 meters tall, making it the highest tower in Venice. It was completed in 1152 by the Doge Domenico Morosini. Canaletto paints the tower one colour, matching the Doges Palace, creating an orange, yellow tint. A pyramidal top caps the tower. A golden weathervane in the form of an archangel Gabriel sits at the top of the point today but the point in Canaletto’s painting has been cropped out. The campanile reached its present form in 1514. The replica still stands after lightening and earthquakes has had its toll on the structure. It had been reconstructed in 1912 after its collapse in 1902, damaging its surroundings. Canaletto faces the Venetian lagoon which was completed in the early 15th century, though portions of it were rebuilt after a fire in 1574. He includes about ten figures in the foreground and many tiny figures in the background, supporting the case of Canaletto using camera obscura. The figure on the far left has been considered to Vermeer as he paints a portrait of the city. All the other figures seem to be transporting goods. Venice is famous for their canals and Gondolas which are flatbottomed, asymmetrical Venetian rowing boats. They are well suited to the conditions of the Venetian lagoon. They have similar features to a canoe, except it is narrower. Gondolas are handmade using 8 different types of wood (fir, oak, cherry, walnut, elm, mahogany, larch, and lime) and are composed of 280 pieces. The oars are made of beech wood.
Page 1 and 2: Johannes Vermeer Girl Reading a Let
Page 3 and 4: How has Vermeer, Canaletto and Turn
Page 5 and 6: Johannes Vermeer was a 17 th centur
Page 7 and 8: A few convincing points were found
Page 9 and 10: About 15 figures are portrayed in t
Page 11 and 12: This building is Schiedam Gate. Aga
Page 13 and 14: Johannes Vermeer, Woman Holding a B
Page 15 and 16: Vermeer uses thee clouds that are a
Page 17 and 18: A fully‐clothed maid is portrayed
Page 19 and 20: An 18 th century artist named Giova
Page 21: Canaletto produces a rococo approac
Page 25 and 26: Canaletto painted Piazza San Marco
Page 27 and 28: Past the columns you can just about
Page 29 and 30: Joseph Mallord William Turner Self
Page 31 and 32: Turner produced many Venetian paint
Page 33 and 34: Like in many of Canaletto’s Venic
Page 35 and 36: During a time of evolving adaptatio
Page 37 and 38: Turner uses warm tones on the Thame
Page 39 and 40: Mauritshuis. Published NA. “Johan

VERMEER CANA TURNER

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?