VERMEER CANA TURNER

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The long shadows stretch across the square, forming from the right to the left, suggests it is a late afternoon as the sun is about to go into sunset. Like Vermeer, Canaletto portrays the different social classes doing everyday responsibilities and general walking around the square. He differentiates the diverse classes by what they are wearing and what they are doing. Some figures are dressed down, with beige clothing which gives the viewer the impression of a less wealthy, social status and some are wearing all black with hats, almost like a uniform –just like the characters at the front in “View of Delft”. They give the impression of some sort of importance. Canaletto depicts the importance of the sun by using it as a powerful feature in creating depth in the painting. He uses a strong contrast with a high intensity of sunlight to create shadows and reflections of the architecture, objects and people onto the canal and pavement. Unlike Vermeer, he uses smooth brushstrokes to keep a flat surface, whereas Vermeer added sand to make it standout. The smooth appearance helps create a threedimensional appearance like a photograph with the help of realistic shadows and cutting off the painting like in “View of Venice with St Mark’s” on the right‐side, which was later used by artists like Edgar Degas. Canaletto’s use of sunlight was striking. He is announced for his precision with the suggested method of camera obscura. It has been considered that he left little clues as he did not want to be accused of potential witchcraft. Years on, Canaletto helped to influence many other artists in the progression of their careers still baffled by his accuracy. Joseph Mallord William Turner was one of the main artists inspired by Canaletto’s precisions. Although, Turner didn’t use camera obscura, but his paintings were also precise, including the sun in his oil paintings and other mediums of his art, helping the enhance the portraits.
Joseph Mallord William Turner Self‐Portrait c. 1799 Oil on canvas, 74 x 58 cm Tate Gallery, London Joseph Mallord William Turner was born April 1775, Maiden Lane, Covent Garden, London. His father, William Gay Turner moved to London around 1770 to follow his father’s trade, where he eventually became a barber and wig‐maker. His mother came from a line of prosperous London butchers and shopkeepers. Turner was sent to stay with uncles at Brentford in 1785 and Sunningwell in 1789, and to Margate in 1786 where he also attended school due to his mother, Mary Marshall, mental disturbance. At home his father encouraged his artistic talent. In December 1789, young Turner entered the Royal Academy Schools, where he progressed from the Plaister Academy, drawing from casts of ancient sculpture, to the life class in 1792. By 1794, with his friend Thomas Girtin, he attended the evening ‘academy’ accommodated by Dr Thomas Monro at his house in the Adelphi, they both studied in copying works by other artists. Landscapes and antiquarian topography were popular during this period. In the following years he advanced in the styles of the Old Masters and made rapid progression in their techniques. He was favoured by many which led to big commissions by patrons like Richard Colt Hoare, William Beckford and Duke of Bridgewater. In 1819, Turner visited Italy. The first time he travelled to Venice, Rome and Naples where he was inspired by Canaletto. His father's death in 1829 affected him and his artwork, resulting with depression. His studies showed that he was a Romantic landscape painter, watercolourist and printmaker, which were said to have laid the foundation for Impressionism due to their careless brushstrokes in some of the paintings. He died in the house of his mistress Sophia Caroline Booth in Cheyne Walk, Chelsea on 19 December 1851. He was recognised as "the painter of light“. His last words were suggested to be "The sun is God" before passing away.
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 and 26: Canaletto painted Piazza San Marco
Page 27: Past the columns you can just about
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

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