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Dp Canaletto Anglais PRESS RELEASE sous le haut patronage de la Ville de Venise CANALETTO À VENISE C’EST AU MUSÉE MAILLOL 19 SEPTEMBRE 2012 > 10 FÉVRIER 2013 billets coupe–file www.museemaillol.com m c 1 9 x 5 , 6 4 - e l i o t r u s e l i u H – 0 3 7 1 - 5 2 7 1 – ) l i a t é d ( o r a n r o C s i a l a P r e u d d i e s n e h u c v S e . n H a u – o r D e k a l l o t V e e © t u o l t a o S h P a l – e n d i l r e e u B q i l i u s z a n B e a e s L u – M o t e t h e l c i a l t n a a a C t t S i d e i l r a e l n a a g C e d o l i ä n o m t e n A G OUVERT TOUS LES JOURS DE 10H30 À 19H — NOCTURNE LE VENDREDI JUSQU’À 21H30 61, RUE DE GRENELLE 75007 PARIS — MÉTRO RUE DU BAC CONTENTS 1- PRESS RELEASE 3 2- COMMISSION AND SCIENTIFIC COMITTEE 5 3- EXTRACTS FROM THE CATALOGUE 6 4- NON-EXHAUSTIVE LIST OF WORKS 13 5- VISUAL DOCUMENTS AVAILABLE FOR THE MEDIA 19 6- PRACTICAL INFORMATION 22 PRESS CONTACTS MUSÉE MAILLOL AGENCE OBSERVATOIRE 59-61 rue de Grenelle 68 rue Pernety 75007 Paris 75014 Paris Claude Unger Céline Echinard 06 14 71 27 02 01 43 54 87 71 [email protected] [email protected] Elisabeth Apprédérisse www.observatoire.fr 01 42 22 57 25 [email protected] 2 1- PRESS RELEASE Under the patronage of The City of Venice MUSÉE MAILLOL CANALETTO IN VENICE 19 September 2012 -10 February 2013 The Musée Maillol pays homage to Venice with the first exhibition devoted exclusively to Canaletto’s Venetian works. The exhibition will be presented in partnership with the Foundation of Venice Civic Museums which is preparing to put on a Francesco Guardi retrospective at the Correr Museum in Venice to mark the 300th anniversary of that Venetian painter’s birth. Canaletto in Venice will be an exclusive occasion for visitors to enjoy the master’s vision of his city, brought to life through his paintbrush. Along the canals we discover places, islands, squares and monuments, views of a city that still retains its 18th-century charm. The Venetian painter certainly didn’t invent the veduta, or detailed cityscape, a genre that has ancient origins, but he helped to develop it by giving his paintings a modernity that allowed him to overtake his masters. Canaletto (1697-1768) is the most famous of the Venetian vedutisti of the 18th century. Over the centuries Antonio Canal has never fallen from favour; his works have always been eagerly sought after by collectors. They seem to have an endless charm, unaffected by trends. Canaletto has the crystal clarity of a man who was faithful to the spirit of the Enlightenment, with a very personal vision of reality. His painting manages to capture the very essence of the light; it conveys a unique and sensual shimmering. The exhibition will bring together more than 50 carefully selected works, from the greatest museums and some historic private collections. On display too will be his drawings and also the famous sketchbook from about 1731, a rare loan by the Gabinetto dei Disegni e Stampe Gallerie the Cabinet of Prints and Drawings of the Accademia Gallery in Venice, which will be displayed open but which can be fully explored on computers. Visitors will also be able to see a copy, made by Venetian master craftsmen, of the optical chamber used by Canaletto to make his drawings, thanks to a partnership with the superintendence of the Polo Museale of the City of Venice and the research of Dario Maran. It is taken from Canaletto’s original device, which was often used on a boat, made with carefully placed lenses that offered highly precise images that were unique at that time. Visitors will be able to see for themselves just how effective it was. 3 In recent times Canaletto has had a central role in a series of ground-breaking exhibitions about the vedutisti, including the one in Rome curated by the much-missed Alessandro Bettagno with Bozena Anna Kowalczyk; The Splendours of Venice in Treviso in 2009, by Giuseppe Pavanello and Alberto Craievich; and more recently the outstanding shows in London and Washington, curated by Charles Beddington. The exhibition at the Musée Maillol aims to be the last in this decade-long cycle by allowing Canaletto alone to lead the spectator around his city through his view paintings. The works on display will show how the artist developed his style. The juxtapositioning of his paintings of the same view will show how his early style, heavily influenced by the artist Marco Ricci and also by his training as a theatrical scenery painter, gradually evolved into interpretations of reality. These were imbued with an atmosphere that was both subtle and sublime, paving the way for painting that was to conquer Europe. 4 2- COMMISSION AND SCIENTIFIC COMITTEE • COMMISSION ANNALISA SCARPA An art historian who specialises in Venetian painting of the 18th century and Venetian view painting. After teaching at the University of Ca’ Foscari in Venice, alongside authorities on Venetian art such as Pietro Zampetti, Alessandro Brettagno and especially Terisio Pignatti, she spent many years studying Canaletto’s graphic art. With Ludovico Mucchi she published Nella Profondità dei Dipinti: La Radiografia nell’indagine Pittorica (The Profundity of Painting: Radiography in Art Research), analysing more than 200 Venetian view paintings using radiography. She is the author of important works on 18th-century Venetian art, Marco Ricci, Sebastiano Ricci and Jacopo Amigoni. She has curated a number of major recent exhibitions: Settecento Veneciano at the Academia of San Fernando in Madrid and at thr Museo ode Bellas Artes in Seville, as well as From Canaletto to Tiepolo at the Palazzo Reale in Milan. She is the curator of the Fondazione A. F. Terruzzi in Milan. LA FONDAZIONE TERRUZZI La Fondation possède environ mille oeuvres de peinture italienne du XVIIIe siècle, essentiellement vénitienne : Canaletto, Bellotto, Sebastiano Ricci, Magnasco, Amigoni, Pellegrini, Antonio et Gaspare Diziani, Piazzetta, Tiepolo, Guardi, Longhi, ainsi que des maîtres plus anciens tels que Paolo Veneziano, Cariani, Paris Bordone, Carpioni, Heintz, Tintoret, Luca Giordano, Strozzi. Elle possède également des œuvres du XIXe siècle, dont une importante sélection d’Ippolito Caffi. Grâce au mécénat de Guido Angelo Terruzzi, la Villa Regina Margherita de Bordighera, récemment rénovée, accueille une partie de la collection et des expositions temporaires. • SCIENTIFIC COMMITTEE IRINA ARTEMIEVA, Curator of Venetian painting, the State Hermitage Museum, St Petersburg CHARLES BEDDINGTON, Art historian who was curator of two of the most recent and important exhibitions dedicated to Canaletto: Canaletto in England: a Venetian Artist Abroad 1746-1755 at Yale Centre for British Art, New Haven, 2006, and the Dulwich Picture Gallery, London, 2007; as well as Venice: Canaletto and His Rivals at the National Gallery in London, 2010 and the National Gallery of Art in Washington DC in 2011. Alberto CRAIEVICH, Curator, Museo del Settecento Veneziano, Ca’ Rezzonico, Venice, and Professore Emerito of the University of Ca’ Foscari ALASTAIR LAING, Curator of Paintings and Sculpture, the National Trust, London FILIPPO PEDROCCO, Director, Museo del Settecento Veneziano, Ca’ Rezzonico, Venice LIONELLO PUPPI, President of the Centro Studi Tiziano e Cadore, Pieve di Cadore ALAIN TAPIÉ, Chief Curator of Cultural Heritage • PROJET DIRECTOR PATRIZIA NITTI, Artistic Director of the Musée Maillol • SCÉNOGRAPHY HUBERT LE GALL 5 3- EXTRACTS FROM THE CATALOGUE • THE VENICE SKETCHBOOK by Annalisa Perissa Torrini, director of the Cabinet of Prints and Drawings of the Accademia Gallery, Venice The extraordinary sketchbook of Canaletto’s drawings, unique in the history of 18th-century Venetian art, has been in the keeping of the Cabinet of Prints and Drawings of the Accademia Gallery in Venice since 1949. It was a donation by Don Guido Gagnola, from the village of Gazzada Schianno in the Varese region of Lombardy, who said he had received it from his father. His father had owned it since 1895 but didn’t know where it had come from1. This precious volume, already bound at the time, was authenticated in August 1840 by Giuseppe Borsato, who unfortunately was to put his heavy stamp on every page. Not long after the sketchbook entered the Accademia collections, Vittorio Moschini2 published two articles about it, and a facsimile edition was produced by Terisio Pignatti in 1958, then by Giovanna Nepi Scirè in 19973. It has only been on public display in London in 1990, and in Venice in 1982, 1995 and 1999. The critical value of this jewel of the art of drawing – important well beyond its 18th-century context – is far greater than its artistic merit. Indeed it is hardly mentioned in the numerous monographs and catalogues dedicated to the work of Canaletto, in which the sketches it contains are treated as just part of the body of his some 500 drawings. The sketches in this book are very precise and made with great care. They are preparatory drawings representing the immediacy of a view, which will then be transformed in the painter’s mind when he makes the canvases that are supposed to reproduce reality. In this respect they show the process of Canaletto’s thinking, from the first idea to its development on paper, then on to the finished canvas.
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