Veduta di Venezia con il Canal Grande dalla chiesa di S. Croce alla chiesa di S. Geremia
Francesco Tironi (Venezia, circa 1745 - 1797)
Francesco Tironi (Venice, ca. 1745 - 1797) Workshop of
View of Venice with the Grand Canal from the church of S. Croce to the church of S. Geremia
c. 1770
oil on canvas, cm. 92 x 152
with frame, 132 x 74 cm
Provenance: Hampel, 30.03.2023
This beautiful work can be placed in the workshop of the great Venetian Vedutist Francesco Tironi (Venice, 1745-1797) and is a remarkable demonstration of his expressive skills.
It is an evocative view of Venice, with a view of the Grand Canal from the church of Santa Croce to the church of San Geremia, in the Cannaregio district. In the front part of the composition one can admire the large dome with the smaller one of the Salute Church, on which stands the statue of the Virgin looking down on life.
Interestingly, on the left side of the composition, the church and aristocratic monastery of Corpus Domini, a sacred complex in Venice that was demolished in the early 19th century, and nearby the top of the church of Santa Lucia crowned by the three statues
The painting derives, albeit with some minor variants, from a drawing by Canaletto in the Royal Collection in [1], probably made in the 1930s; this framing was later taken up and circulated by the engraver Antonio Visentini [2] in his "Prospectus Magni Canalis Venetiarum", a series of views of Venice taken from the great Venetian master's creations.
[1] Canaletto, The Grand Canal seen from the north-west, from Santa Croce to San Geremia, c. 1730-40, Windsor, Royal Collection https://www.wga.hu/frames-e.html?/html/c/canalett/g1/canalg09.html
[2] Antonio Visentini, The Grand Canal from Santa Croce eastwards 'Prospectus ab Aede S. Crucis ad PP. Discalceatos', 1742, Windsor, Royal Collection
https://www.rct.uk/collection/809031/venetian-views-after-canaletto
In the 18th century, Venice experienced a 'golden age' in art and culture. The Venetian veduta became a highly successful pictorial genre, meeting the needs of collectors and refined travellers, of nobles, especially English and German, but also French, who visited the city during their 'Voyage d'Italie', synthesising the image of Venice in its most relaxed and characteristic dimension.
Alongside Antonio Canal 'il Canaletto' (1697-1768), the spearhead of vedutismo, a large number of artists, active in the lagoon city, made this painting season extraordinary. Among them, Francesco Tironi (Venice, ca. 1745 - 1797), to whom we believe the present painting is perfectly attributable, is characterised by an eclectic taste, which blends, in an original manner, elements taken from Canaletto or Marieschi (for the typology of the 'macchiette' and the compositional layout of the views), with clear Guardesque influences (for the synthetic rendering of the architectural elements, defined in a flowing manner).
In the painting under consideration here, the painter displays a good description of the architectural elements in full light, modulated by a soft chiaroscuro play that coherently blends the various compositional elements, using a colour palette of harmonious tones, making them rich in the expression of texture.
The view, in very good condition, undamaged and without significant restorations, not recently retouched, is enriched by a beautiful gilded frame.
ADDITIONAL INFORMATION:
The work is sold with a certificate of authenticity and descriptive iconographic card.
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