VERMEER CANA TURNER

More documents

Recommendations

Info

The building on the left in the foreground dominates the image. This building is Basilica di San Marco, also known as Chiesa d’Oro (The Golden Church). This church was destroyed in 976 during a rebellion against Doge Pietro Candiano IV. A second church was built in 1063 but was not consecrated until 1094, after Saint Mark’s relics, which had been lost in the years following the destruction of the first church, were rediscovered. It has distinctive white and pale‐rose pigmented marble with opulent Byzantine decoration. The front of the structure displays five large round‐arches. He paints the gilded mosaic with bright strokes in comparison to the detailed building itself. Above every arch are four horses of St Mark, looted from the Hippodrome of Constantinople in 1204. Canaletto portrays the Saint Teodoro of Amasea column vaguely, like in “View of the Bacino di San Marco (St Mark's Basin)” on the right in the background. However, this time he portrays Saint Teodoro and Saint Mark’s column together. The columns draw your attention to the background. It’s capped by a lion which was the Saints evangelistic symbol.
Past the columns you can just about see the island of San Giorgio Maggiore in the lagoon beyond. Adding the lagoon reminds and helps promotes Venice’s maritime history and watery location. Canaletto had a wide range of green earth colours in Venice ranging from deep forest greens to turquoise colours. He used green‐blue pigments to paint the water of the Venetian canals. In some of Canaletto’s paintings, he had recently introduced during his time in England, a blue pigment called blue verditer that had not been previously identified in his Venetian palette. This blue replaced the green earth pigments. Canaletto lightens the image with a clear blue sky and white clouds. The clouds and blue sky indicate a hot climate. He paints the clouds quite loosely, unlike in Vermeer’s painting which was at least a century earlier. Vermeer paints fluffy and bold clouds with a prominent dark cloud that partially covers the cityscape. Canaletto was famed for his use of light. He was influenced by Vermeer, who also includes a dark cloud which covers part of the city. Vermeer. “View of Delft” Detailed view of the clouds in comparison to Canaletto’s clouds. Canaletto “View of Venice with St Mark’s” Detailed view of the clouds in comparison to Vermeer’s clouds. This shadows and restricts the sunlight greatly as he paints a contract of light and shadow on the pavement. In comparison to the foreground, he emphasises the figures shadows where the sun is beaming onto them.
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 and 22: Canaletto produces a rococo approac
Page 23 and 24: On the left of the painting, Canale
Page 25: Canaletto painted Piazza San Marco
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?