Canal, Giovanni Antonio (called Canaletto) (1697-1768). Imaginary view of S. Giacomo di Rialto, Venice.

Historical significance: Giovanni Antonio Canal, called Canaletto began his career by assisting his father Bernardo Canal (1664?-1744) in producing stage scenery. He accompanied his father to Rome in 1719-20. It was in Rome that he began to paint topographical views. Following his return to Venice in 1720 he seems to have stopped painting scenery completely in favour of producing topographical paintings. Following the example of Luca Carlevarijs, the first main exponent of Venetian veduta or view paintings, Canaletto began to produce more accurate views of Venice following his return. Canaletto's works appealed specifically to foreign visitors to the city and one of his key patrons was Consul Joseph Smith (c.1674-1770). From the 1740s Canaletto began to produce Capricci, which combine fanciful architecture and landscapes. In 1746 he travelled to England where he painted views of London and country houses for a number of English patrons. He remained almost entirely in England until 1755 when he returned to Venice. He was elected a member of the Venice Academy in 1763.

In the middle of the eighteenth century Canaletto produced a series of 38 etchings. These range from views of towns in the Veneto, including Mestre and Dolo, to idealised landscapes that reflect the capriccio that the artist was also developing in his drawings and paintings of the time. The capricci combine views of run-down buildings bathed in bright sunlight, populated by peasants and reflect the artist's talent at creating imaginary scenes. There is a drawing related to this small composition, titled The Terrace in the Kupferstcihkabinett in Berlin. The view of distant buildings and rooftops is framed on both sides and in the foreground by architecture thrown into shadow, this contrasts with the buildings in the mid foreground lit by bright sunlight.

Canaletto has developed this view of S. Giacomo al Rialto into a capriccio, or imaginary view. The Venetian church of S. Giacomo al Rialto is framed on the left by three Corinthian columns that recall the ruin of the temple of Castor and Pollux in the Forum, Rome. In the distance the view opens up to the lagoon where boats can be seen. This composition exemplifies the artist's ability at combining architectural elements in a capriccio , which he was developing in the middle of the eighteenth century.

23213:5