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Canaletto's Vedute Prints CANALETTO’S VEDUTE PRINTS An Exhibition in Honor of Adolph Weil Jr. HOOD MUSEUM OF ART, DARTMOUTH COLLEGE MONTGOMERY MUSEUM OF FINE ARTS 153064_Canaletto.indd 1 12/2/14 2:18 PM INTRODUCTION Mark M. Johnson, Director, Montgomery Museum of Fine Arts Michael R. Taylor, Director, Hood Museum of Art, Dartmouth College he Hood Museum of Art and the actual sites and imaginary vistas, and at times Montgomery Museum of Fine Arts are even interweaving the familiar with the fantas- Tdelighted to present Canaletto’s Vedute tic. Through these prints, Canaletto revealed Prints: An Exhibition in Honor of Adolph an unseen Venice to what he hoped would be Weil Jr. This partnership reflects the indelible a new audience and a new market: collectors imprint that this remarkable collector’s legacy spurred by the revival of printmaking in has borne on the museums of his hometown, eighteenth-century Italy. The results of his Montgomery, Alabama, and of his alma mater, project were unexpected and revelatory, and as Dartmouth College, which he attended from magical today as in Canaletto’s own time. 1931 to 1935. Both the Montgomery Museum of Fine Arts and the Hood Museum of Art have in the past mounted exhibitions of Mr. Weil’s prints that are now held by the institutions. In this collaborative venture, we celebrate another important aspect of Mr. Weil’s outstanding collection, Canaletto’s magnificent etchings of eighteenth-century Venice. This project was planned jointly to commemorate the one hun- dredth anniversary of the birth of the donor, and to celebrate his vision and dedication as a collector of Old Master prints. Canaletto’s Vedute Prints highlights a relatively unknown body of work by the eighteenth- century Italian artist known predominantly for his sumptuously painted views of Venice. This focused exhibition shows a group of etchings that Giovanni Antonio Canal, known as Cana- letto (1697–1768), created during a pivotal moment in his career, when he departed from his familiar topographical Venetian views and explored not only a new medium, etching, but also atypical subject matter. On his title page to the series, Canaletto described the etchings as Vedute Altre prese da i Luoghi Altre ide- Adolph “Bucks” Weil leading a gallery talk during ate (Views, Some Taken from Places, Others Master Printers: Dürer, Rembrandt and Beyond from Invented). Indeed, in these scenes, Canaletto the Collection of Mr. and Mrs. Adolph Weil Jr., moved in and out of reality, presenting both Montgomery Museum of Fine Arts, July 17, 1994. 2 153064_Canaletto.indd 2 12/2/14 2:18 PM For all his love of multiples, Adolph “Bucks” Mr. Weil donated to the Hood Museum of Art Weil was an original. Collectors of art come to continues to play a vital role in the institution’s their passion from a multitude of perspectives teaching mission. and motivations. Some are simply acquisitive for its own sake. The late nineteenth-century After Bucks Weil passed away in 1995 at the New York financier J. P. Morgan was said to age of eighty, the two museums that meant have purchased so much art that he never got the most to him, the Montgomery Museum around to unpacking a lot of it. Others take joy of Fine Arts and the Hood Museum of Art at in envisioning an “edifice” of art, with indi- Dartmouth, were the ultimate beneficiaries of vidual elements that need to be assembled to his collecting vision. On behalf of the boards, create a whole. They become obsessed with the staffs, supporters, and visitors of both institu- hunt for that elusive piece of the puzzle to fill tions, we wish to honor Adolph “Bucks” Weil a void. Bucks Weil fit neither category. His love Jr. on the centenary celebration of his birth, of art was as much an intellectual pursuit as an along with his wife, Jean, and their children, aesthetic one, studying actual objects and cata- for their unwavering dedication to the pres- logues of objects with a view to understanding ervation of the fine art of printmaking, as what great artists of the past saw, and the vary- demonstrated through the holdings of the Hood ing ways in which they expressed themselves Museum of Art and the Montgomery Museum and their ideas through their art. of Fine Arts for the education and appreciation of our audiences now and well into the future. Once Bucks Weil made the decision to collect, The two institutions elected to focus this he chose a field in which he knew he could memorial exhibition on prints by Canaletto afford to purchase outstanding examples of the because Bucks Weil donated to each musuem type he most appreciated. He focused his col- outstanding examples by the artist—thirty lecting specifically on the greatest early Euro- to the Hood Museum of Art and seven to the pean master printmakers—Dürer, Rembrandt, Montgomery Museum of Fine Arts. We recog- Canaletto, Callot—and on their most talented nize the research and scholarship of the cura- successors, such as Goya and Whistler. In col- tors who managed the project, Margaret Lynne lecting prints, as in his business, Mr. Weil was Ausfeld, Curator of Collections, MMFA, and meticulous. “I don’t purchase on a whim,” he Sarah Powers, Assistant Curator for Special once told a reporter.1 Understanding the inher- Projects, Hood Museum of Art. We appreciate ent value of expertise, he asked the right ques- the assistance of other members of our staffs tions of knowledgeable dealers, conservators, who contributed to the project, and we cele- and academics. brate this partnership of two institutions that were dear to the heart of Bucks Weil. Seemingly hand in hand with his interest in collecting was his interest in the ultimate dispo- NOTE sition of the works he collected. More than con- 1. Quoted in “Master Printmakers: Dürer, Rembrandt, templating an ultimate gesture of philanthropy, and Beyond from the Collection of Mr. and Mrs. Adolph Mr. Weil devised a process that accommodated Weil, Jr.,” The Montgomery Advertiser, July 1, 1994. his own appreciation of the works while care- fully preserving them, but also acknowledging that they could inevitably play a larger role in two communities that he loved. The Weil Graphic Arts Study Center of the Montgomery Museum of Fine Arts serves as a space for the exhibition and study of works on paper, and the superb selection of Old Master prints 3 153064_Canaletto.indd 3 12/2/14 2:18 PM CANALETTO’S VEDUTE PRINTS: WINDOWS ONTO A HIDDEN VENICE Sarah G. Powers, Assistant Curator for Special Projects, Hood Museum of Art, Dartmouth College t is difficult to imagine an artist more intri- views, a departure from the formula for Vene- cately intertwined with a city than Cana- tian views for which Canaletto was known. Iletto. For centuries, his name has been With few exceptions, the etchings are not of synonymous with topographical views of Venice the expected landmarks, but show the more known as “vedute” (views); his luminous and humble, everyday aspects of the city, such as meticulously detailed paintings of such familiar the modest dwellings, little byways, and banks vistas as the Grand Canal and Piazza S. Marco of the Brenta River towards Padua; others are celebrate the stunning beauty of the “Queen of fantasies, ranging from elaborate caprices to the Adriatic.” Canaletto’s signature Venetian intimate backyard scenes and wild landscapes. views became coveted mementoes for English Only eleven of the thirty-four prints reference gentlemen to bring home from the Grand Tour. actual sites in Venice, and perhaps most sur- Due to this widespread popularity, his paintings prisingly, the iconic view of the Grand Canal, entered aristocratic collections by the hundreds, Canaletto’s hallmark image, is completely and subsequently he had a far-reaching influ- absent. The vedute prints, thus, reveal an ence on European landscape painting in the unknown artist and a hidden city, beyond the eighteenth century. Most importantly, Cana- vision packaged for tourists and outsiders. letto’s paintings provided timeless documents of a transitory moment of glory—a façade of Canaletto would eventually make thirty-one elegance that was quickly fading away. etchings in the series, a few of which were later cut into sections to add up to thirty-four Given Canaletto’s fame as a landscape painter separate prints. Two of these are unique and the demand for his trademark Venetian impressions, and one exists in only two impres- scenes, it is remarkable that he turned, albeit sions.1 This exhibition of thirty etchings thus very briefly, to a new medium and format for represents a nearly complete set of Canaletto’s his art. In the early 1740s, at the peak of his vedute, assembled by Adolph “Bucks” Weil career, Canaletto embarked on a project to cre- Jr., Dartmouth Class of 1935, an astute and ate a series of etchings dedicated to (and most prescient collector of Old Master prints. The likely financed by) Joseph Smith, the British Hood Museum of Art and the Montgomery Consul to the Venetian Republic. Thanks to Museum of Fine Arts are honored to highlight Smith, who acted as his agent on behalf of this important facet of Mr. Weil’s distinguished foreign collectors, Canaletto was known as collection, which he eventually donated to these the artist for painted views of Venice’s most two museums. famous sites, yet the vedute prints present an unexpected side of the artist and offer an alter- Known as Canaletto to distinguish himself nate window into eighteenth-century Venetian from his father, Bernardo, Giovanni Antonio life. The scenes are intimate and creative, Canal was born in Venice in 1697.
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