Canaletto Master Etcher by C A R L J. W E I N H A R D T, JR., Assistant Curator of Prints One of the most important treasures of eight- eenth-century art in the Department of Prints is a bound set of brilliant impressions of the etchings of Canaletto, purchased with income from the Rogers Fund in 1918. Unhappily, they remain but little known to the general public. Canaletto's prints have always been extremely popular in England-our volume still bears the bookplates of the English country house from which it came-but for some reason they have never found the favor they deserve in America. William M. Ivins, Jr., the Museum's first Cu- rator of Prints, lamented the fact in these pages forty years ago, and it is still true today. Since the Museum is not especially rich in other work by Canaletto we are fortunate to have superb impressions of his prints. The century that shaped the man who pro- duced these etchings witnessed a great change in the institutional and intellectual framework of Europe. When Louis XIV made his long over- due departure from this world in I 7I5, the whole continent breathed a sigh of relief and turned to other, lighter matters. The powerful spiritual and political forces of the Counter Reformation were largely spent. The religious wars of the seventeenth century had exhausted people's at- tention to the point of indifference, and reason as opposed to dogma had a distinctly new appeal. The arts reflected these more general changes. Intimacy was the new theme, the gen- eral was replaced by the particular, oratory by conversation, and overstatement by what was to become overrefinement. What survived into the new century of the great baroque tradition of art was mainly in the spirit of decoration. This was expressed for the most part by technicians who were masters of refined color, of the arrange- ment of forms, and of light and shade. The ex- tent of the change is well illustrated by a com- parison of the drama and courtliness of Rubens's Marie de Medici series in the Louvre with the exquisite rococo dalliance of the Boucher room in the Frick Collection. Private collectors tended to replace the church and state as patrons, and as their tastes became increasingly refined and specialized, so did art. Artists quickly became aware of the change, and catered to their more knowledgeable customers. The academies of art had a heyday, and as the atmosphere of connoisseurship intensified and spread, pictures were publicly exhibited in newly opened museums and endlessly discussed by amateurs and critics. In England the idea and even the name of the Grand Tour had existed in the seventeenth cen- tury, but in the new age it became an a bsolute "must" in the education of any cultivated youth. The ultimate objective for many if not most of the rich young pilgrims was Venice, and the coffeehouses of the time must have rung with Oxford accents, just as Harvardese is the preva- lent dialect in Harry's New York Bar today. Even early in the century the city played host to as many as thirty thousand British tourists a year. The Venetian Republic had actually long lost its power and was soon to lose its independ- ence forever. Nonetheless, its physical beauty and captivating charm were undiminished- perhaps even enhanced by decay-and the city rose to the occasion, putting on a magnificent show for its affluent visitors. The Grand Canal Contents NOVEMBER 1958 Canaletto: Master Etcher By Carl J. Weinhardt, Jr. Newly Acquired Bronzes By ChristineAlexander First Efforts of an Infant's Hand By Edith A. Standen 77 88 92 77 The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletinwww.jstor.org ®
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by C A R L J. W E I N H A R D T, JR., AssistantCuratorof Prints
One of the most important treasures of eight-
eenth-century art in the Department of Prints
is a bound set of brilliant impressions of the
etchings of Canaletto, purchased with income
from the Rogers Fund in 1918. Unhappily, theyremain but little known to the general public.Canaletto's prints have always been extremely
popular in England-our volume still bears the
bookplates of the English country house from
which it came-but for some reason they have
never found the favor they deserve in America.William M. Ivins, Jr., the Museum's first Cu-
rator of Prints, lamented the fact in these pages
forty years ago, and it is still true today. Since
the Museum is not especially rich in other work
by Canaletto we are fortunate to have superb
impressions of his prints.The century that shaped the man who pro-
duced these etchings witnessed a great changein the institutional and intellectual framework of
Europe. When Louis XIV made his long over-
due departure from this world in I 7I5, the wholecontinent breathed a sigh of relief and turned to
other, lighter matters. The powerful spiritualand political forces of the Counter Reformation
were largely spent. The religious wars of the
seventeenth century had exhausted people's at-
tention to the point of indifference, and reason as
opposed to dogma had a distinctly new appeal.The arts naturally reflected these more general
changes. Intimacy was the new theme, the gen-eral was replaced by the particular, oratory by
conversation,and overstatement
bywhat was to
become overrefinement. What survived into the
new century of the great baroque tradition of
art was mainly in the spirit of decoration. This
was expressed for the most part by technicians
who were masters of refined color, of the arrange-
ment of forms, and of light and shade. The ex-
tent of the change is well illustrated by a com-
parison of the drama and courtliness of Rubens's
Marie de Medici series in the Louvre with the
exquisite rococo dalliance of the Boucher room
in the Frick Collection.
Private collectors tended to replace the church
and state as patrons, and as their tastes became
increasingly refined and specialized, so did art.
Artists quickly became aware of the change, and
catered to their more knowledgeable customers.
The academies of art had a heyday, and as the
atmosphere of connoisseurship intensified and
spread, pictures were publicly exhibited in newly
opened museums and endlessly discussed byamateurs and critics.
In England the idea and even the name of the
Grand Tour had existed in the seventeenth cen-
tury, but in the new age it became an absolute
"must" in the education of any cultivated youth.The ultimate objective for many if not most of
the rich young pilgrims was Venice, and the
coffeehouses of the time must have rung with
Oxford accents, just as Harvardese is the preva-lent dialect in Harry's New York Bar today.
Even early in the century the city played host toas many as thirty thousand British tourists a
year. The Venetian Republic had actually longlost its power and was soon to lose its independ-ence forever. Nonetheless, its physical beautyand captivating charm were undiminished-
perhaps even enhanced by decay-and the cityrose to the occasion, putting on a magnificentshow for its affluent visitors. The Grand Canal
now lasted half the year.The art of the city inevitably absorbed gaiety
and pageantry, and the tourists provided a readyand steady market for painted and printed ver-
sions of the contemporary scene. Thus a local
vedute (or view) school of art prospered, and
collections in bleaker countries to the north be-
came dotted with the familiar images of the
ephemeral Venetian scene. The idea of such
views was not new. Many fifteenth-century art-
ists had used lovingly detailed fragments of the
city's skyline as backgrounds in paintings. In
1500 Jacopo de' Barbari made the magnificentwoodcut Bird's-eye View of Venice, measuringover four by nine feet, which remains the most
important printed view of the city. (Even at that
date the commercial value of the vedute was
recognized, and a German merchant who lived
in Venice immediately obtained a four-year
copyright on the woodcut.) Though the city was
drawn and painted by many people, particularly
northerners, during the sixteenth and seven-
teenth centuries, it was not until close to I700that a real local veduteschool emerged to fill the
demand for souvenirs. Its leading figure was
Luca Carlevaris, who produced a set of I04etched postcardlike views of the city's famous
sights. It was first issued in I703, and was sopopular that there were numerous later editions.
Among Carlevaris's many students and follow-
ers was a young man later known as Canaletto,
who was to raise the art of the vedute to an en-
tirely new level. Giovanni Antonio Canal was
born in Venice three years before the dawn of
the eighteenth century. His father owned a work-
shop that produced scenery for the theatrical
The MetropolitanMuseum of Art BULLETIN
VOLUME XVII, NUMBER 3, NOVEMBER 1958
Published monthly from October to June and quarterly from
July to September. Copyright 1958 by The Metropolitan Mu-
seum of Art, Fifth Avenue and 82nd Street, New York 28, N. Y.
Re-entered as second-class matter November I7, 1942, at the
Post Office at New York, N. Y., under the Act of August 24,
I912. Subscriptions $5.00 a year. Single copies fifty cents. Sent
free to Museum Members. Four weeks' notice required for
change of address. Editor: Marshall B. Davidson.
events so much in vogue, and here, as a set-
painter, young Canaletto received his first artis-
tic training. The sets were largely architectural,and much of his facility with perspective and his
predisposition for architectural subjects must
have come from his experience during these
years. Like many artists before and since, Canal-
etto was drawn to Rome, but his stay was a short
one, and he was back in Venice working as an
independent painter by I720. For the next forty-
eight years-or until his death in I 768-he pro-duced little that was not directly related to the
city of Venice.
The major exception is the work he did in
England during the forties and fifties. The traffic
between England and Italy at this time was byno means a one-way affair. Lord Burlington'sPalladian revival was at its height and fashion-
able English aristocrats were building Venetian
country houses as fast as they could. Since their
native heirlooms were hardly suitable, they fre-
quently imported Italian artists and craftsmen
to decorate the displaced villas. By 1746 when
Canaletto decided to go directly to the source of
demand, his reputation had been well estab-
lished in England by many paintings broughtback by returning tourists. His stay in Englandmade him a part of English art. The Englishhave always remained loyal to their adopted
painter, and the course of landscape painting inEngland would have been different if he had
never painted there.
Canaletto's initial success in Venice had been
great, and as early as i727 it was said that he
had more commissions than he could complete.It was during these years that he formed his re-
lationship with Joseph Smith, an astute Englishconnoisseur who had settled in Venice and made
a good business of being the middleman be-
tween local artists and eager foreign purchasers.Whether Smith was
exploiteror
patronhas been
much debated but is of no concern to us here.
What is important is that the constant outlet for
Canaletto's paintings was undoubtedly the majorcause of the change from his free and luminous
early style to the dry and harsher one of his later
years. Very simply, it was to his direct financial
of close straight parallel lines to fill most of the
sky. There is a deliberate ambiguity as to whether
the linear portion or the remaining areas of
white represent clouds. Avoiding literal repre-sentation of things so evanescent and fleeting as
clouds contributes much to the realistic qualityof the atmosphere in the print. The rest of the
scene is rendered in a very straightforwardmanner: short, roughly parallel lines, varyingin proximity, within clear outer contours conveythe texture of most of the elements. Finally, tinyrounded strokes create the foliage of the trees
and shrubbery. Trees, denied to the artist in his
cityscapes, turn up in many of the prints, and he
portrays them with obvious relish.
The House of I74I and The House with the
Portico (see pp. 82 and 83) were originally etchedon one copper plate which the artist later divided
into two independent pictures that show a marked
advance in style over the Porte del Dolo. Since
this was an invention Canaletto had complete
freedom in the arrangement of the forms-in
contrast to the Dolo scene where the framework
was given-and the result is two much richer
and more varied compositions. Planes are less
distinct and melt into one another, and the
architectural elements, while they appear casual,have been adroitly manipulated to mark a com-
plex recession into space. In The House with the
Portico the progression from the sun-drenched
pier in the right foreground to the dark side of
the house in the center is particularly daring and
successful. The dramatic falling away of the fore-
ground draws the eye abruptly down into the
picture, and when it rises again it is via the
richly articulated facade of the house in the
middle distance. Above the house, harmonizingthe rich counterpoint of light and dark below,is a vast and shimmering sky.
The repertory of strokes remains small, thoughit is more varied and used with more skill and
In the rest of the picture the range of values of before another print-maker, Charles Meryon,the lines is considerably increased. Contrast, for would etch the buildings of a city with anything
example, in the enlarged detail shown as frontis- like Canaletto's sense of their meaning and
piece, the extremely delicate wavering lines on character.
the top of the pier with the heavy dark ones The Mountainous Landscape (see below) is
below that have been strengthened by rebiting from the group of nine small imaginary land-
the plate. scapes which were the last prints he made. Here
In the View of the Prison (see p. 81) we reach architecture has been abandoned, and the subject
familiar territory, and though the subject may is the romantic and slightly mysterious mood of
be unimaginative, its light, quick treatment the scene, rather than the concrete data. The
proves that he is now in complete and assured spatial order is deliberately ambiguous, planes
control of the etching needle. The strokes are merge, distances are uncertain, and proportions
A MountainousLandscape
more delicate and less tightlycontrolled-ob-
serve the sky where the careful parallels have
been abandoned for rapid sketchy strokes that
vary considerably in value.
The prison view is so well known that it is
easy to pass it by quickly, but to do so in this case
is a mistake. For Canaletto treated even a hack-
neyed subject with a sensitivity that distinguisheshis work immediately from that of his predeces-sors and successors. It was to be a hundred years
are treatedsubjectively.
Thegraphic techniqueis the most limited yet. It consists almost ex-
clusively of loose quick parallels, augmented byeven more rapid rounded marks for the foliage.Their values are limited in range, and the result
is a more uniform, over-all, silvery tonality.Within these four examples we have seen the
evolution of his etching style, from the loving and
careful delineation of forms with regular strokes,