
Giovanni Antonio Canal Canaletto Painting Reproductions 12 of 13
1697-1768
Italian Rococo Painter
Giovanni Antonio Canal, born in Venice on 18 October 1697, matured in a republic that floated both on water and on spectacle. From the beginning his identity derived from craft: he was the son of Bernardo Canal, a respected scenographer, and the diminutive Canaletto suited a painter who would make the city itself his theatre. The lagoon offered an ever-shifting stage of stone and reflection - a subject demanding sharp observation rather than easy lyricism - and the young artist spent his career refining that gaze.
He served first behind the scenes, learning to build worlds for opera. The painted flats of devotional or mythic Rome taught him a rigorous command of perspective, but it was a visit to the actual city in 1719-20 that reoriented his ambition. There he encountered Giovanni Paolo Pannini’s vedute, and understood that the street, not the stage, held the richest drama. On returning home he abandoned scenery for canvases, translating theatrical illusion into urban fact, yet always allowing architecture to retain its sense of performance.
The early 1720s brought a decisive shift. Instead of finishing pictures in the studio, Canaletto worked directly before the motif, noting the fugitive brilliance of Adriatic light. The practice was adventurous for its day and sparked rumours that he relied on a camera obscura. Whether that optical box served as aide-mémoire or mere curiosity, the stronger truth lies in his draughtsmanship: the geometry is disciplined, but surfaces shimmer with the instability of water, crowds, and atmosphere. Reality and reverie interlock - a balance that would become his signature.
Patronage soon followed. Owen Swiny and then the English consul Joseph Smith recognised that Canaletto’s Venice could satisfy the Grand Tourist’s longing for both documentary record and aesthetic refinement. Smith’s townhouse became a showroom; British collectors commissioned canvases small enough to travel yet expansive in illusion. When war in the 1740s closed continental routes and the flow of visitors dwindled, Canaletto moved the studio rather than the market, sailing for London in 1746.
England required a recalibration of vision. The painter lodged in Soho, surveying a capital still unsure of its own grandeur. His drawings of Westminster Bridge, then newly completed, reveal a careful negotiation between topographic fidelity and atmospheric embroidery. Some viewers found the results mechanical; a whisper even circulated that an impostor wielded the brush. Canaletto’s rejoinder was public: he invited gentlemen to inspect a freshly painted view of St James’s Park, asserting authenticity by means of openness. Yet the very charge of repetitiveness underscores how fully he had distilled a format that others now mimicked.
Returning to Venice in 1755, he was welcomed into the Accademia and, as prior of the painters’ guild, presided over a city increasingly conscious of its own nostalgia. Late works often revisit earlier sketches, but they are not mere reprises. Subtle dislocations of scale, unexpected cloud shadows, and occasional capricci suggest a mature imagination still interrogating the city’s precarious equilibrium between ceremony and decline. The paint films grow thinner, the light cooler, as though acknowledging that spectacle, once steady, had begun to flicker.
Canaletto died on 19 April 1768 and was buried in San Lio, the parish of his baptism. His influence, however, radiated far beyond the parish and the century. Pupils such as Bernardo Bellotto and Francesco Guardi adapted his analytical clarity to their own ends, while collectors from Catherine II to George III competed for his canvases. The purchase of Consul Smith’s holdings by the British crown in 1762 consolidated a royal taste for urban portraiture that still shapes national collections. If later movements praised spontaneity over structure, they nonetheless inherited from Canaletto a conviction that the modern city is a subject worthy of sustained, exacting vision - a stage where the everyday may, through watchful painting, achieve quiet permanence.
He served first behind the scenes, learning to build worlds for opera. The painted flats of devotional or mythic Rome taught him a rigorous command of perspective, but it was a visit to the actual city in 1719-20 that reoriented his ambition. There he encountered Giovanni Paolo Pannini’s vedute, and understood that the street, not the stage, held the richest drama. On returning home he abandoned scenery for canvases, translating theatrical illusion into urban fact, yet always allowing architecture to retain its sense of performance.
The early 1720s brought a decisive shift. Instead of finishing pictures in the studio, Canaletto worked directly before the motif, noting the fugitive brilliance of Adriatic light. The practice was adventurous for its day and sparked rumours that he relied on a camera obscura. Whether that optical box served as aide-mémoire or mere curiosity, the stronger truth lies in his draughtsmanship: the geometry is disciplined, but surfaces shimmer with the instability of water, crowds, and atmosphere. Reality and reverie interlock - a balance that would become his signature.
Patronage soon followed. Owen Swiny and then the English consul Joseph Smith recognised that Canaletto’s Venice could satisfy the Grand Tourist’s longing for both documentary record and aesthetic refinement. Smith’s townhouse became a showroom; British collectors commissioned canvases small enough to travel yet expansive in illusion. When war in the 1740s closed continental routes and the flow of visitors dwindled, Canaletto moved the studio rather than the market, sailing for London in 1746.
England required a recalibration of vision. The painter lodged in Soho, surveying a capital still unsure of its own grandeur. His drawings of Westminster Bridge, then newly completed, reveal a careful negotiation between topographic fidelity and atmospheric embroidery. Some viewers found the results mechanical; a whisper even circulated that an impostor wielded the brush. Canaletto’s rejoinder was public: he invited gentlemen to inspect a freshly painted view of St James’s Park, asserting authenticity by means of openness. Yet the very charge of repetitiveness underscores how fully he had distilled a format that others now mimicked.
Returning to Venice in 1755, he was welcomed into the Accademia and, as prior of the painters’ guild, presided over a city increasingly conscious of its own nostalgia. Late works often revisit earlier sketches, but they are not mere reprises. Subtle dislocations of scale, unexpected cloud shadows, and occasional capricci suggest a mature imagination still interrogating the city’s precarious equilibrium between ceremony and decline. The paint films grow thinner, the light cooler, as though acknowledging that spectacle, once steady, had begun to flicker.
Canaletto died on 19 April 1768 and was buried in San Lio, the parish of his baptism. His influence, however, radiated far beyond the parish and the century. Pupils such as Bernardo Bellotto and Francesco Guardi adapted his analytical clarity to their own ends, while collectors from Catherine II to George III competed for his canvases. The purchase of Consul Smith’s holdings by the British crown in 1762 consolidated a royal taste for urban portraiture that still shapes national collections. If later movements praised spontaneity over structure, they nonetheless inherited from Canaletto a conviction that the modern city is a subject worthy of sustained, exacting vision - a stage where the everyday may, through watchful painting, achieve quiet permanence.
311 Canaletto Paintings

The Molo from the Bacino c.1740/45
Paper Art Print
$54.09
$54.09
SKU: CAN-6933
Giovanni Antonio Canal Canaletto
Original Size: 26.7 x 37.2 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 26.7 x 37.2 cm
The Royal Collection, London, UK

The Entrance to the Arsenale c.1740/45
Paper Art Print
$54.09
$54.09
SKU: CAN-6934
Giovanni Antonio Canal Canaletto
Original Size: 27.1 x 37.4 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 27.1 x 37.4 cm
The Royal Collection, London, UK

A Capriccio with Santi Maria e Donato, Murano c.1740/45
Paper Art Print
$54.09
$54.09
SKU: CAN-6935
Giovanni Antonio Canal Canaletto
Original Size: 19 x 27.2 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 19 x 27.2 cm
The Royal Collection, London, UK

Trees on the Shores of the Lagoon c.1740/45
Paper Art Print
$54.09
$54.09
SKU: CAN-6936
Giovanni Antonio Canal Canaletto
Original Size: 19.9 x 26.8 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 19.9 x 26.8 cm
The Royal Collection, London, UK

Rome: The Arch of Septimius Severus c.1742
Paper Art Print
$54.09
$54.09
SKU: CAN-6937
Giovanni Antonio Canal Canaletto
Original Size: 23.8 x 37.6 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 23.8 x 37.6 cm
The Royal Collection, London, UK

A Capriccio of Church Ruins on the Shores of the Lagoon c.1740/45
Paper Art Print
$54.09
$54.09
SKU: CAN-6938
Giovanni Antonio Canal Canaletto
Original Size: 19.8 x 28.7 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 19.8 x 28.7 cm
The Royal Collection, London, UK

A Capriccio of a Ruined Arch on the Shores of a Lagoon c.1740/45
Paper Art Print
$54.09
$54.09
SKU: CAN-6939
Giovanni Antonio Canal Canaletto
Original Size: 19.8 x 27.8 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 19.8 x 27.8 cm
The Royal Collection, London, UK

A Coastal Capriccio c.1740/45
Paper Art Print
$54.09
$54.09
SKU: CAN-6940
Giovanni Antonio Canal Canaletto
Original Size: 20.3 x 28.7 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 20.3 x 28.7 cm
The Royal Collection, London, UK

Padua: A Distant View of Santa Giustina and ... c.1742
Paper Art Print
$54.09
$54.09
SKU: CAN-6941
Giovanni Antonio Canal Canaletto
Original Size: unknown
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: unknown
The Royal Collection, London, UK

Rome: The Temple of Antoninus and Faustina c.1742
Paper Art Print
$54.09
$54.09
SKU: CAN-6942
Giovanni Antonio Canal Canaletto
Original Size: unknown
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: unknown
The Royal Collection, London, UK

A Villa on the Outskirts of Padua c.1742
Paper Art Print
$54.09
$54.09
SKU: CAN-6943
Giovanni Antonio Canal Canaletto
Original Size: 31.4 x 39.9 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 31.4 x 39.9 cm
The Royal Collection, London, UK

Rome: the Forum with the Basilica of Constantine ... c.1742
Paper Art Print
$54.09
$54.09
SKU: CAN-6944
Giovanni Antonio Canal Canaletto
Original Size: 27.1 x 37.8 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 27.1 x 37.8 cm
The Royal Collection, London, UK

A Capriccio with a Roman Arch c.1742/45
Paper Art Print
$54.09
$54.09
SKU: CAN-6945
Giovanni Antonio Canal Canaletto
Original Size: 19.9 x 28.4 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 19.9 x 28.4 cm
The Royal Collection, London, UK

The Piazza Looking North-East from the Procuratie Nuove c.1745
Paper Art Print
$54.09
$54.09
SKU: CAN-6946
Giovanni Antonio Canal Canaletto
Original Size: 19.7 x 28 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 19.7 x 28 cm
The Royal Collection, London, UK

The Piazza Looking West from the Procuratie Nuove c.1745
Paper Art Print
$54.09
$54.09
SKU: CAN-6947
Giovanni Antonio Canal Canaletto
Original Size: 19.2 x 27.1 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 19.2 x 27.1 cm
The Royal Collection, London, UK

The Campanile under Repair c.1745
Paper Art Print
$54.09
$54.09
SKU: CAN-6948
Giovanni Antonio Canal Canaletto
Original Size: 42.5 x 29.2 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 42.5 x 29.2 cm
The Royal Collection, London, UK

Westminster Bridge, London, with a Procession of ... c.1747
Paper Art Print
$54.09
$54.09
SKU: CAN-6949
Giovanni Antonio Canal Canaletto
Original Size: 27.4 x 48.6 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 27.4 x 48.6 cm
The Royal Collection, London, UK

Westminster Bridge, London c.1747
Paper Art Print
$54.09
$54.09
SKU: CAN-6950
Giovanni Antonio Canal Canaletto
Original Size: 22.7 x 48.4 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 22.7 x 48.4 cm
The Royal Collection, London, UK

London: Westminster Bridge under Construction c.1750
Paper Art Print
$54.09
$54.09
SKU: CAN-6951
Giovanni Antonio Canal Canaletto
Original Size: unknown
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: unknown
The Royal Collection, London, UK

A Capriccio with Santi Maria e Donato, Murano c.1755/60
Paper Art Print
$54.09
$54.09
SKU: CAN-6952
Giovanni Antonio Canal Canaletto
Original Size: 19.9 x 28.4 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 19.9 x 28.4 cm
The Royal Collection, London, UK

London: A View of Westminster from the Terrace of ... c.1750
Paper Art Print
$54.09
$54.09
SKU: CAN-6953
Giovanni Antonio Canal Canaletto
Original Size: 21 x 47.1 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 21 x 47.1 cm
The Royal Collection, London, UK

A Capriccio with a Monumental Staircase c.1755/60
Paper Art Print
$54.09
$54.09
SKU: CAN-6954
Giovanni Antonio Canal Canaletto
Original Size: 36.3 x 53.1 cm
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: 36.3 x 53.1 cm
The Royal Collection, London, UK

London: The City Seen through an Arch of ... c.1750
Paper Art Print
$54.09
$54.09
SKU: CAN-6955
Giovanni Antonio Canal Canaletto
Original Size: unknown
The Royal Collection, London, UK
Giovanni Antonio Canal Canaletto
Original Size: unknown
The Royal Collection, London, UK

View of the Arch of Constantine with the Colosseum c.1742/45
Oil Painting
$3645
$3645
Canvas Print
$57.78
$57.78
SKU: CAN-15865
Giovanni Antonio Canal Canaletto
Original Size: 82 x 122 cm
J. Paul Getty Museum, Los Angeles, USA
Giovanni Antonio Canal Canaletto
Original Size: 82 x 122 cm
J. Paul Getty Museum, Los Angeles, USA