untitled (Imaginary View with Reminiscences of Padua), Circle of Bernard Bellotto

Artwork Overview

Circle of Bernard Bellotto, untitled (Imaginary View with Reminiscences of Padua)
Circle of Bernard Bellotto, untitled (Imaginary View with Reminiscences of Padua)
Circle of Bernard Bellotto
untitled (Imaginary View with Reminiscences of Padua)
1723–1780
Circle of Bernard Bellotto, artist
active late 1700s
untitled (Imaginary View with Reminiscences of Padua), 1723–1780
Where object was made: Italy
Material/technique: oil; canvas
Dimensions:
Canvas/Support (Height x Width x Depth): 83.4 x 108.8 cm
Canvas/Support (Height x Width x Depth): 32 13/16 x 42 13/16 in
Credit line: Museum purchase
Accession number: 1952.0003
Not on display
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Label texts

Exhibition Label:
"Empire of Things," 2013, Kate Meyer
The painter and printmaker Canaletto (1697-1768) and his nephew, Bernardo Bellotto, specialized in painting views of Venice and its environs for travelers on the Grand Tour, a trip through Europe associated with British nobility. In 1740-41, Canaletto and Bellotto made a study trip along the Brenta Canal to Padua, a town located about forty kilometers west of Venice. This painting is one of numerous versions of an original composition that was likely conceived during that trip. Although the painting includes many identifiable Paduan buildings, it also includes imagined outlying structures, such as crumbling ruins overrun with plants. In this way, the painting serves not only as a Grand Tour souvenir, but also a reminder of the passage of time, and that today’s cities will be tomorrow’s ruins.

Archive Label 1999:
Paintings and engravings of Venetian views (vedute) were popular in the eighteenth century. Bernardo Bellotto and his uncle, called "il Canaletto," were especially known for painting pictorial records of picturesque vistas in Italy for European-and particularly English-tourists. In addition to faithful reproductions of existing architecture and landscape, Bellotto and his followers were fond of juxtaposing imaginary elements, such as Gothic ruins, the remains of ancient temples, tombs, and monuments in paintings. They deliberately exaggerated and distorted the architectural elements to add drama to the stage-like quality of the composition. This imaginary and capricious inventiveness lends its name to these types of paintings, capricci.
Many buildings in the painting are clearly identifiable. The central building is the Porta Portello (now the Porta Venezia). The domed church is the Santa Guistina, and the tall spire belongs to the Chiesa della Misericordia. The long-roofed structure along the left skyline is the Palazzo della Ragione.
This painting is a replica of one of Canaletto's most popular capricci, of which thirty-three are known to exist. Some were replicated by Canaletto himself, others by his studio, and still others by Bellotto and his circle.

Exhibitions

Empire of Things
Kris Ercums, curator
Kate Meyer, curator
2013–2015
Empire of Things
Kris Ercums, curator
Kate Meyer, curator
2016–2021

Resources

Audio

Audio Tour – Bulldog Podcast
Audio Tour – Bulldog Podcast
Veduta Ideale with Reminiscences of Padua is one of the more striking pieces in the Spencer Museum of Art. Bernardo Bellotto immediately captures the eye with a bright yellow building in the center of his canvas topped by wispy pink clouds. The eye is then drawn down the canvas by Bellotto’s clever use of shadows and vivid, accented colors. One may notice that specifically the people seem to stand out. He has used heavy, thick brush strokes and vibrant colors to depict their clothing. Yellows and oranges are especially common among these. Bellotto, an eighteenth century painter, studied for many years under his uncle Canaletto. During these years he traveled to several European countries, painting landscapes and towns. This particular piece was painted of Italy. He especially enjoyed depicting ruins, so they appear in many of his works. As you gaze at this canvas, you may notice that much of this city is in ruins. The few trees that grow seem wind-blown and measly. The people themselves appear tattered and worn. It seems that Bellotto also wishes to depict the prospect of hope. Delicate clouds are scattered around the sky. Most of the figures seem to be examining an ancient lion statue, which in many cultures symbolizes strength. Another person is looking deep into the clear, sparkling pond. It seems evident that Bellotto hopes for more blissful, simple times. I find this to be a truly wonderful and inspiring piece. Bellotto seems to tell a tale of dreams. Hundreds of years later, these ideas are whispered to us from his use of simple paint and canvas. What do you see?
Audio Tour – Bulldog Podcast
Audio Tour – Bulldog Podcast