A Seated Man

Physical description

A study of a seated man gesticulating with his right hand and wearing a dark blue long coat, brown breeches, white cravat and a high crowned white hat with brim cocked to reveal a blue and gold underside. This work is part of an album of fifty-three sketches by Carlevarijs which includes figures and objects he appears to have painted in the open air in preparation for insertion into formal compositions.

Place of Origin

Venice, Italy (painted)

Date

ca. 1700-ca. 1710 (painted)

Artist/maker

Carlevarijs, Luca, born 1663 - died 1730 (painter (artist))

Materials and Techniques

Oil on paper

Dimensions

Height: 20.3 cm approx., Width: 16 cm approx.

Object history note

Purchased, 1938

Historical significance: Painter, engraver and architect, Luca Carlevarijs (1633-1730) has long been acknowledged as the first Italian painter of Venetian views. Although he worked in other genres, it is for his views of Venice that Carlevarijs is possibly best known. Following the death of his father, also an artist, Carlevarijs left his native Udine to live in Venice with his sister. He was soon discovered by the powerful Venetian Zenobio family who lived in the same quartiere or district as the young artist. It is believed that the artist travelled to Rome when he was young. In Rome he would have been exposed to the view paintings of one of the first masters of this genre Gaspare van Wittel. On his return to Venice Carlevarijs began to produce views of his adopted city. One of the seminal works was the artist’s volume of printed views titled: Le fabriche e vedute di Venezia disegnate poste in prospettiva et intagliate da Luca Carlevaris. Published in 1703, this book consists of 104 views of Venice. It was the most complete survey of the fabric of the city ever produced and served as a model for Venetian view painters throughout the 18th century. The work was highly influential with many later view painters, including Canaletto, borrowing from it for their own paintings. Perhaps due to his friendship with the Zenobio family, Carlevarijs enjoyed the patronage of many Venetian families. Other contemporary Venetian view painters such as Guardi and Canaletto painted mainly for the export market, making Carlevarijs’ role in Venetian society unusual. Following his Arrival of the 4th Earl of Manchester in Venice in 1707 (1707; Birmingham, Mus. & A.G.), many of Carlevarijs’ paintings combine grouping of figures against the backdrop of Venice in rich, colourful and dramatic compositions. In 1712 he was working in Conegliano and in 1714 he returned to Udine to work as architectural supervisor for the Cathedral. A portrait of the artist shows him with pair of dividers, suggesting that he had some form of mathematical training. His name appears on a list of confraternity of Venetian Painters in the years 1708-13, 1712, and 1726.

This is one of Carlevarijs’ studies known as macchiette, the quick sketches he made with daubs of colour to indicate animated Venetian figures. Carlevarijs first drew the figures on paper, copying them from people he saw in the streets and then transformed them into lively oil sketches, such as this one, which represent a crucial part of his artistic process. Studies such as these would ultimately form part of a Venetian veduta or prospect painting, which is a genre Carlevarijs is generally credited with establishing in the eighteenth century. Carlevarijs populated his vedute with elegantly posed and well-dressed figures, concealing the decline of the Republic under the splendour of the pageants, festivals and regattas he often represented.

In this sketch Carlevarijs captures a seated man in conversation, gesturing with his right hand. He wears a long coat, brown breeches and white cravat. On his head is a high crowned white hat with brim cocked to reveal a blue and gold underside. He does not wear the long full bottomed wig that Carlevarijs shows the Venetian gentry wearing (for example see sketches P.41-1938 and P.65-1938). This figure occurs seated in a boat in the foreground of The Rialto Bridge (Private collection; see Rizzi, fig.91). The lack of wig and placing of the figure suggests that this is a boatman. Figures in similar dress recur in the artist’s sketches and completed paintings (for example see V&A inventory numbers P.54-1938; P.68-1938; P.67-1938; and P.66-1938). Carlevarijs' sketches also demonstrate his great influence on Canaletto, whose figures and their arrangement often show a marked debt to the older Master such as in Venice: The Feast Day of Saint Roch ca. 1735 (National Gallery, London, NG937).

References:

Rizzi, Aldo. Luca Carlevarijs, (Alfieri: Venice, 1967)

Historical context note

This work is part of an album of fifty-three sketches by Carlevarijs which includes figures he appears to have painted in the open air in preparation for insertion into formal compositions. The figures and objects appear frequently and virtually without variations in his paintings between 1707 and 1726 and are closely related to his etchings of 1703 in Le fabriche e vedute di Venetia. Composed of 104 views of Venice, the etchings formed the most complete survey of the fabric of the city ever produced and served as a model for Venetian view painters throughout the 18th century. Carlevarijs' sketches reveal a particular attention to costume, highlighting Venetian style of dress which was highly regarded in fashionable circles throughout Europe from the 16th through the 18th centuries. The maritime republic imported raw materials from the Far East and exported finished products including highly desirable velvets and brocades. The taste for Venetian textiles persisted into the 18th century. In this period however, Venice's power was dwindling and her government corrupt. The city nevertheless sought to present a facade of a wealthy city peopled with bright and gregarious multitude engaged in pleasurable pursuits. As Carlevarijs stated in the dedication to Le fabriche, he intended his paintings to 'rendere più facile alla notitzia de Paesi stranieri le Venete Magnificenze' [render more clearly the magnificence of Venice to foreign countries]

Descriptive line

Oil painting, 'A Seated Man', Luca Carlevarijs, ca. 1700-ca. 1710

Bibliographic References (Citation, Note/Abstract, NAL no)

Kauffmann, C.M., Catalogue of Foreign Paintings, I. Before 1800, London: Victoria and Albert Museum, 1973, p. 56-63, cat. no. 60 (P.26-1938 - P.78-1938)
The following is the full text of the entry:

"Luca CARLEVARIJS (1663-1730)
Venetian School
Born at Udine, he moved to Venice with his sister in 1679, and later visited Rome. He was influenced by Sebastiano Ricci (1659-1734). A mathematician and architect as well as a painter and engraver, he was the first Venetian to paint vedute (mainly for a foreign and diplomatic market), his predecessors having been foreigners such as Joseph Heintz (in Venice by 1625). There is no evidence for the view that Canaletto was taught by him, though Canaletto was plainly influenced by his works. His paintings are comparatively rare.

60
FIFTY-THREE STUDIES
Canvas
(except where otherwise indicated)

P.47-1938 A seated man 8 x 6 3/8 (20.3 x 16) on paper
Rizzi (1967): No.22, fig.19

These well-known sketches by Carlevarijs include figures which he used frequently and virtually without variations in his paintings between 1707 and 1726. In addition, some of the figures in his etchings of 1703, Le fabriche e vedute di Venetia, are related to them (Pope-Hennessy, 1938). He seems therefore to have used them during the greater part of his active life as a painter. They demonstrate his influence on Canaletto, whose figures and their arrangement in some of his early paintings show a marked debt to Carlevarijs, in, for example, The Doge visiting the Church and Scuola di S. Rocco of circa 1735 (London, N. G.) (Constable, 1962).
Among the figures which are used most often, P.68 appears in: Piazza S. Marco con ciarlatini (Berlin-Dahlem, Rizzi, 1967, pls. 104-07), Piazza S. Marco with a market (Rome, formerly Lazzaroni Collection; Rizzi, 1967, pls. 101-03), Piazzetta seen from the Molo (Milan, private collection; Rizzi, 1967, pl. 42), Regatta on the Grand Canal (Copenhagen, Frederiksberg Castle; Rizzi, 1967, pls. 35-7), Piazzetta from the Sea (formerly Munich, Collection Drey; Rizzi, 1964, pl. xxxii), Molo with the Zecca (Rome, Galleria Nazionale; Rizzi, 1967, pl. 57 f.), Piazza (Poznan; Mauroner, 1945, fig. 25). The left-hand figure of P.65 appears in, amongst other paintings: The Duke of Manchester's Entry into the Doge's Palace (Birmingham, City Art Gallery; Rizzi, 1967, pls, 28-30), and the other version of this subject (The Hague; Rizzi, 1967, pls. 31-4), Piazza S. Marco (Balcarres; Rizzi, 1967, pls, 96-9), Piazza S. Marco (Kiplin Hall; Rizzi, 1967, pl. 119 f.), Il bucintoro in bacino S. Marco (Rome, formerly Lazzaroni Collection; Rizzi, 1967, pls. 43-4), Riva degli schiavoni (Milan, Collection Fano; Rizzi, 1967, pls. 54-6), Piazza S. Marco con ciarlatini (Berlin Dahlem; Rizzi, 1967, pls, 104-07). P. 76 can be seen in: Piazza S. Marco (Kiplin Hall; Rizzi, 1967, pl. 119 f.), The Duke of Manchester's Entry into the Doge's Palace (The Hague; Rizzi, 1967, pls. 30-4), and Piazzetta seen from the Malo (Milan, private collection; Rizzi, 1967, pl. 42). P. 69 appears in the first two of those paintings, and P.72 in Piazza S. Marco (Hartford; Rizzi, 1967, pls, 115-16), and Piazza S. Marco (Kiplin Hall; Rizzi, 1967, pl. 119 f.).
The earliest dateable painting, The Duke of Manchester's Entry into the Doge's Palace, 1707 (Birmingham City Art Gallery) includes P.37, P.64, P.65 and P.69. Even more of the figures are used in The Reception of Count Colloredo (Dresden), dated by Rizzi to Colloredo's mission of 1726, rather than that of 1714: P.42, P.43, P.44, P.50, P.55, P.57, P.58, P.59, P.61, P.63, P.67.
This is not intended as a complete list of paintings in which the sketches were used, but it does demonstrate that once Carlevarijs had devised his principal figure types he used them again and again throughout his career. He presumably worked them up from pen and pencil sketches from life such as those also in the Museum (D.1352A-1887), several of which relate in general terms to the oil sketches.

Prov. Bought from Dr Vitale Bloch in 1938.
Exh. Carlevarijs, disegni, incisioni e bozzetti,Udine, 1964: P.37, P.48, P.50, P.55, P.57, p.65, p.68, p.69; Life in xviii century Venice,Iveagh Bequest, Kenwood, 1966:
P.36, P.37, P.38, P.41, P.43, P.44, P.48, P.54, P.57, P.66, P.69, P.70.
Lit. J. Pope-Hennessy, 'A group of studies by Luca Carlevarijs' in Burl. Mag.,lxxiii, 1938, p. 126 f.; Anon., 'Early Venetian Costume Studies' in Listener,22 September 1938, p. 613; F. Mauroner, Luca Carlevarijs,2nd ed., 1945, p. 24, figs. 32 (P.57), 33 (P.55), 34 (P.69); M. Levey, Painting in xviii century Venice,1959, p. 79; W. G. Constable, Canaletto,i, 1962, pp. 70, 73 f., pl. 9 a (P.69) and b (P.55); A. Rizzi, Disegni, incisioni e bozzetti del Carlevarijs,cat. delta Mostra,Udine, 1964, pp. 53-7, figs. 113-20; A. Rizzi, Luca Carlevarijs,1967, p. 97 f., figs. 1-53 (Bozzetti). "
John Pope-Hennessy, 'A Group of Studies by Luca Carlevarijs', The Burlington Magazine for Connoisseurs, Vol. 73, No. 426 (Sep., 1938), pp. 126-131.
Anon., 'Early Venetian Costume Studies' in Listener,22 September 1938, p. 613.
F. Mauroner, Luca Carlevarijs,2nd ed., 1945, p. 24, figs. 32 (P.57), 33 (P.55), 34 (P.69)
M. Levey, Painting in XVIII century Venice, 1959, p. 79.
W. G. Constable, Canaletto,i, 1962, pp. 70, 73 f., pl. 9 a (P.69) and b (P.55)
Although this work is not discussed specifically, it derives from the same album as works that are. The sketches that are discussed include the following museum numbers: (P.69-1038) and b (P.55-1938).
A. Rizzi, Disegni, incisioni e bozzetti del Carlevarijs, Exh. Cat. Udine, 1964, pp. 53-7, figs. 113-20.
Although this work was not part of the exhibition, it derives from the same album as V&A pictures that were lent including the following museum numbers: P.37-1938, P.48-1938, P.50-1938, P.55-1938, P.57-1938, P.65-1938, P.68-1938, P. 69-1938.
The Glory of Venice : art in the eighteenth century. Jane Martineau and Andrew Robison (eds.), Exhibition held at the Royal Academy of Arts, London, September 15 - December 14, 1994 and at the National Gallery of Art, Washington, D.C., January 29 - April 23, 1995.
General reference, although this work not lent to exhibition, P.51-1938; P. 71-1038 and P.72.-1038 were lent.
Life in XVIII century Venice, Iveagh Bequest, Kenwood, 1966.
Although this work was not part of the exhibition, it derives from the same album as V&A pictures that were lent including the following museum numbers: P.36-1938, P.37-1938, P.38-1938, P.41-1938, P.43-1938, P.44-1938, P.48-1938, P.54-1938, P.57-1938, P.66-1938, P.69-1938, P.70-1938.
A. Rizzi, Luca Carlevarijs,1967, p. 97 f., figs. 1-53 (Bozzetti).
Isabella Reale and Dario Succi, Luca Carlevarijs e la veduta veneziana del Settecento Exh. Cat., Milano : Electa, c1994.
General Ref. V&A objects not lent to exhibition.
See pp. 99-144 for in depth discussion of figural studies.
Venice, 1700-1800: an exhibition of Venice and the eighteenth century (The Detroit Institute of Arts [and] John Herron Art Museum), 1952, pp. 9-12, 23-26.
General Ref. V&A objects not lent to exhibition.
Luca Carlevarijs, Le fabriche e vedute di Venetia Exh. Cat., Venezia : Marsilio, 1995-1996.
General Reference, not lent to exhibition
Charles Beddington, Luca Carlevarijs : views of Venice Exh. Cat. (San Diego, Calif.: Timken Museum of Art, c. 2001), p. 19, fig. 17.
Note that though the work was not lent to this exhibition sketches are generally discussed in the catalogue.

Exhibition History

Venetian Visions (Victoria and Albert Museum, Galleries 88a and 90 07/10/11-01/04/12)

Materials

Paper; Oil paint

Techniques

Oil painting

Subjects depicted

Man; Costume; Hats

Categories

Paintings

Collection code

PDP