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Turner produced many Venetian paintings during his visit to Italy in the<br />
1830’s, which were influenced by Canaletto. Canaletto not only<br />
inspired the portraiture but also the technique. They both use<br />
squiggles, dashes and dots in their artwork. His lines are energic, fluid<br />
and subtle. He was also taught different styles from artists like Piranesi,<br />
Ducros,, Loutherbourgh, and Vernet. It is believed his intentions were<br />
to gather and transform foreign techniques to produce a unique style.<br />
The paint is thickly applied and masks the weave of<br />
the canvas. The base is white with layers of gray,<br />
beige and imprimatura. Glazes and scraps are craved<br />
creating light‐colored paint that create the luminous<br />
effect. The details of architecture and rigging are<br />
accomplished with very thin fluid paint occasionally<br />
reworked by scratching in with a blunt tool. At the<br />
1834 Royal Academy show, critics gave praise to the<br />
scene’s radiant, sparkling waters.<br />
Turner devised this Venetian cityscape as a symbolic<br />
salute to commerce. It was originally painted for<br />
Painted for Henry McConnel, The Polygon, Ardwick,<br />
Manchester but now lies with The National Gallery.<br />
Joseph Mallord William Turner<br />
Venice: The Dogana and San Giorgio Maggiore, 1834<br />
oil on canvas<br />
overall: 91.5 x 122 cm<br />
Widener Collection of The National Gallery of Art, Washington DC
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