Canaletto (Giovanni Antonio Canal; Venice, 1697 - 1768) and Francesco Guardi (Venice, 1712 - 1793) are the great protagonists of the third issue of our printed magazine Finestre sull’Arte on paper. In fact, the cover story of this issue will recount affinities and divergences between the two great artists, with an exceptional pen: that of Fabrizio Magani, superintendent of Verona, Rovigo and Vicenza, one of the most recognized experts on Venetian art of the 18th century (and author of several volumes on the subject), with teaching to his credit at the Universities of Udine and Padua.
“The discovery of reality revealing itself to the eyes in its fullest intentions,” Magani writes in his article about the context in which the two artists worked, “is a free conquest of the eighteenth century, but it should not be overlooked how widespread was the attention to and study of the compositional mechanics proper to scenographic installations. Indeed, for the visible to be a grand theater with its variations of light and things, it was advisable for a specialist to delve into the secrets of that technique. The common matrix to the rules of scenic composition, with the ability to organize in verisimilitude the very different parts of the scenery, qualifies one of the peculiarities of the 18th century. The theme of capriccio in particular, which in itself represents a very special declination of the vedutistic genre, is the quintessence of the concept of variety and surprise, capable of clasping together reason and pleasure.”
In order not to miss the issue containing the article, titled Canaletto and Guardi forever, it is necessary to subscribe to the magazine by August 18, following the instructions at this link.
Image: Canaletto, Rialto Bridge (first quarter 18th century; 90.5 x 134.6 cm; Montreal, Elwood B. Hosmer Collection)
Canaletto and Guardi featured in the third issue of Finestre Sull'Arte on paper. Subscriptions through Aug. 18 |
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