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69. Bernardo Bellotto, Detto Canaletto

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69. Bernardo Bellotto, Detto Canaletto 69. Bernardo Bellotto, detto Canaletto tecnica/materiali relazione di restauro (Venezia, 1722 - Varsavia, 1780) olio su tela Sabine Bendfeldt Il Mercato nuovo di Dresda visto dallo Jüdenhof dimensioni restauro 1749 (?) 136 × 236 cm Sabine Bendfeldt (Staatliche Kunstsammlungen Dresden, Diplom provenienza Restauratorin, Gemälderestaurierung) collezioni del principe elettore Federico Augusto II di Sassonia con la direzione di Marlies Giebe (direttrice del gabinetto collocazione di restauro dei quadri, Staatliche Dresda, Staatliche Kunstsammlungen Kunstsammlungen Dresden) Dresden, Gemäldegalerie Alte e di Andreas Henning (Staatliche Meister (Galleria n. 610) Kunstsammlungen Dresden, scheda storico-artistica Gemäldegalerie Alte Meister) Andreas Henning (curatore dei dipinti italiani nelle Staatliche Kunstsammlungen Dresden / Gemäldegalerie Alte Meister) Bernardo Bellotto, known as Canaletto technique/ material restoration report (Venice, 1722–Warsaw, 1780) oil on canvas Sabine Bendfeldt The New Market of Dresden Seen from the Jüdenhof dimensions restoration 136 × 236 cm Sabine Bendfeldt (Staatliche 1749 (?) Kunstsammlungen Dresden, Diplom provenance Restauratorin, Gemälderestaurierung) collection of Prince-Elector Frederick Augustus II of Saxony chief restorer: Marlies Giebe (Head of the Conservation Department current location for Paintings at the Staatliche Staatliche Kunstsammlungen Kunstsammlungen Dresden); Dresden / Gemäldegalerie Alte Andreas Henning (Staatliche Meister (Gallery no. 610) Kunstsammlungen Dresden, critical note Gemäldegalerie Alte Meisters) Andreas Henning (curator of Italian painting at the Staatliche Kunstsammlungen Dresden / Gemäldegalerie Alte Meister) Bernardo Bellotto (genannt Canaletto) Material/Technik Restaurierungsbericht (Venedig 1722 - 1780 Warschau) Öl auf Leinwand Sabine Bendfeldt Der Neumarkt in Dresden vom Jüdenhofe aus Abmessungen Restaurierung 136 × 236 cm Sabine Bendfeldt (Staatliche 1749 (?) Kunstsammlungen Dresden, Diplom Herkunft Restauratorin, Gemälderestaurierung) Sammlung des sächsischen Kurfürsten Friedrich August II Projectleiter: Leiterin der Gemälde- Restaurierung der Staatlichen Standort Kunstsammlungen Dresden: Marlies Staatliche Kunstsammlungen Giebe; Andreas Henning (Staatliche Dresden / Gemäldegalerie Alte Kunstsammlungen Dresden, Meister (Galerie Nr. 610) Gemäldegalerie Alte Meister) Kunsthistorische Notiz Andreas Henning (Kurator für italienische Malerei der Staatliche Kunstsammlungen Dresden / Gemäldegalerie Alte Meister) Dopo il restauro The painting following the conservation treatment Das Gemälde nach der Restaurierung sti della Serenissima adottarono il vedutismo: se Luca Carlevarijs fu il primo a dedicarsi quasi esclusi- vamente a inquadrature veneziane, Canaletto, di una generazione più giovane, avrebbe presto dominato il mercato. È probabile che Bel- lotto abbia iniziato a frequentare come apprendista la bottega ve- neziana dello zio intorno al 1735; certo è che nel 1738, a sedici anni, venne accolto nella Fraglia dei pit- tori veneziani. All’inizio degli anni Quaranta del Settecento Bellotto intraprese una serie di viaggi di studio; prima nei dintorni di Ve- nezia e di Parma, in seguito anche a Firenze, Lucca e Roma, infine in Lombardia. Un importante tram- polino di lancio per la sua carriera fu l’incarico, conferitogli da Carlo Emanuele III di Savoia nel 1745, Prima del restauro di dipingere alcune vedute di To- The painting prior to the conservation treatment rino, ma si deve riconoscere che la Das Gemälde im Zustand vor der Restaurierung maturazione di Bellotto si sarebbe completata in epoche successive, Scheda storico-artistica Dresda, ma anche uno dei mag- passato autenticamente e vivida- presso diverse corti europee. giori progetti architettonici voluti mente rappresentato. Bellotto e la veduta del Mercato nuo- dal principe elettore Federico Au- Bellotto a Dresda vo di Dresda con la prima Gemäl- gusto II di Sassonia, cioè la nuova Bellotto e il vedutismo Solo due anni dopo la committen- degalerie Gemäldegalerie. Un elemento di Bellotto fu apprendista pittore za da parte di Carlo Emanuele III, Le vedute di Bernardo Bellotto non poca rilevanza, che determi- presso lo zio Canaletto (Giovanni nel 1747, Bellotto lasciò Venezia (detto Canaletto) – questo il no- na il particolare valore di questa Antonio Canal) il quale, sebbene per trasferirsi a Dresda (per Bel- me completo con cui era cono- tela rispetto al ciclo delle vedute il genere si fosse affermato in Italia lotto a Dresda cfr. tra l’altro Wal- sciuto l’artista – ci permettono di di Dresda dell’artista, è costituito solo da poco, era considerato il più ther 1995; Rizzi 1996, p. 28 sgg.; compiere un vero e proprio viag- dalla presenza del sovrano stesso: la noto vedutista del suo tempo. L’ul- Weber 2004; Henning 2011a; gio a ritroso nel tempo, catturati piazza del Mercato nuovo è infatti timo scorcio del Medioevo aveva Henning 2011b; Wagener 2014, dall’eccezionale qualità artistica e attraversata dalla carrozza reale. già registrato la comparsa, seppu- p. 121 sgg.). Fu presumibilmente dall’accurata testimonianza storica I dipinti di Bellotto ritraggono re sporadica, di vedute cittadine in luglio che si mise in viaggio, delle opere. Dalla mano di Bellotto un’epoca che fu determinata da sullo sfondo di dipinti e affreschi, accompagnato dalla moglie, dal provengono infatti le più impor- due figure: Federico Augusto I, ciononostante, a sud delle Alpi, la figlioletto di cinque anni, Lorenzo, tanti rappresentazioni che hanno detto Augusto il Forte (1670- città in quanto tale non fu ogget- e dal servo Francesco, detto Checo. disegnato nei secoli – come ancora 1733), e suo figlio Federico Augu- to di rappresentazione autonomo Non avrebbe mai più rimesso pie- avviene – l’immagine di Dresda co- sto II (1696-1763), entrambi prin- né durante il Rinascimento né in de nella sua città natale, perché la me residenza augustea. Tra queste cipi elettori di Sassonia e sovrani epoca barocca. Uno scenario mol- sua carriera di pittore si sarebbe poi si annovera in primo luogo Dresda di Polonia. In particolare per una to diverso, invece, si profilò a nord svolta a Dresda, Vienna, Monaco e dalla riva destra dell’Elba oltre il città come Dresda questi dipinti delle Alpi, dove in particolare nella Varsavia. ponte di Augusto (Kozakiewicz sono veri e propri latori del passa- pittura olandese del Seicento, pae- Dresda era al tempo una delle corti 1972, 2, p. 115 sgg., n. 146; Ber- to, perché non fu solo la devastan- saggi cittadini e scorci di quartiere d’Europa più attraenti dal punto nardo Bellotto 2011, p. 105, n. 2; te distruzione della città durante conquistarono sempre maggiore di vista artistico. Venezia, d’altro cfr. anche Bendfeldt 2011; Hen- la Seconda guerra mondiale, ma popolarità. Fu proprio un artista canto, era il punto di riferimento ning 2011a), ma anche il dipinto già prima anche la guerra dei Sette olandese originario dei dintorni culturale più prestigioso (cfr. Vene- con la veduta del Mercato nuovo anni, che scoppiò proprio men- di Utrecht, Gaspar van Wittel, a dig - Dresden 2010). Già Augusto è di assoluta importanza. Oggetto tre Bellotto si trovava a Dresda, a dipingere nel 1680 le prime ve- il Forte, padre del principe elettore di recente restauro con il genero- marcare il territorio con le tracce dute di Roma, mentre la prima in carica, aveva invitato a Dresda so sostegno di Intesa Sanpaolo, dei conflitti. Tanto più importanti veduta di Venezia a noi giunta di cantanti, musicisti, librettisti, sce- quest’ultimo raffigura infatti non risultano le vedute dipinte da Bel- questo artista è datata 1697 (Ma- nografi e artisti della Serenissima, solo la Frauenkirche nel cuore di lotto, che ci riportano in un tempo drid, Museo del Prado). Gli arti- tra i quali i pittori Giovanni An- tonio Pellegrini e Gaspare Diziani. Erano stati invitati perfino artigia- ni in grado di costruire le gondole, affinché il fiume sassone potesse sembrare una replica del Canal Grande. Anche la fisionomia della città fu disegnata traendo ispirazio- ne da Venezia: come testimoniano le vedute di Bellotto, la cupola del- la chiesa veneziana di Santa Maria della Salute influenzò il progetto della Frauenkirche, e anche il pon- te sull’Elba fu considerato come un ponte di Rialto in territorio sasso- ne. La vitalità della corte di Federi- co Augusto II – con i suoi ingenti investimenti nelle arti – dovette risultare estremamente allettante per Bellotto, che a quel punto ave- va terminato il suo apprendistato e trovato il suo stile. Se confrontate con le opere dei pittori residenti a Dresda, risulta Bernardo Bellotto, Dresda dalla riva destra dell’Elba oltre il ponte di Augusto, 1748, olio su tela, 133 × 237 cm, Dresda, evidente che l’approccio artistico e Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister (Galleria n. 606) concettuale delle vedute di Bellotto Bernardo Bellotto, Dresden from the Right Bank of the Elbe, below the Augustus Bridge, 1748, oil on canvas, 133 × 237 cm, è del tutto diverso. Tra l’altro, nel Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister (Gallery no. 606) 1748 Bellotto fu nominato pittore Bernardo Bellotto, Dresden vom rechten Elbufer unterhalb der Augustusbrücke, 1748, Öl auf Leinwand, 133 × 237 cm, di corte ed è significativo il fatto Staatliche Kunstsammlungen Dresden / Gemäldegalerie Alte Meister, (Galerie Nr. 606) che acquisì subito una posizione di rilievo, considerando che il suo cm) che Bellotto aveva già utilizza- dole di propria mano, ventuno di essere esposte in coppie deriva uni-
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