Italy – Page 2 – Zaidan Gallery

01 Painting of the Canals of Venice, Mike Bernard’s FLOATING MARKET, with footnotes. #92

Mike Bernard (b. 1957)
THE FLOATING MARKET, VENICE
Mixed media
61 cm by 69 cm; 24 in by 27 in
Private collection

A floating market is a market where goods are sold from boats. Originating in times and places where water transport played an important role in daily life, most floating markets operating today mainly serve as tourist attractions.Mike Bernard (born 1957) is an English painter. His highly textured semi-abstract paintings are often executed in mixed media incorporating collage and acrylics; he also brings an experimental approach to watercolour and oils. Regular subjects include coastal and street scenes in the English West Country and Italy. “What attracts me most is the pattern of buildings, boats and similar features in a scene. I build a painting by putting in blocks of colour to develop a pattern which is pleasing to my eye in colours which are harmonious, bringing in feelings of spontaneity, freshness and freedom.”

Bernard was born in Dover, Kent. He trained at the West Surrey College of Art and Design, Farnham, followed by postgraduate studies at the Royal Academy Schools. Since then he has exhibited at the Royal Academy summer exhibition, Mall Galleries, Royal Festival Hall and many other galleries in London and the provinces. He has also gained awards and prizes for his paintings.

Bernard lives and works in North Devon, having moved there in 2008 from Hampshire. He is a regular contributor to The Artist magazine. More on Mike Bernard

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01 Painting of the Canals of Venice, Rudolf Ritter von Alt’s Canal in Venice, with footnotes. #90

Rudolf Ritter von Alt, Austrian, 1812 – 1905
Canal in Venice, c. 1871
Watercolour over pencil on paper
27 by 37cm., 10½ by 14½in.
Private collection

Rudolf Ritter von Alt (28 August 1812 – 12 March 1905) was an Austrian landscape and architectural painter. Born as Rudolf Alt, he could call himself von Alt and held the title of a Ritter (knight) after he gained nobility in 1889.

Born in Vienna, he studied at the Akademie der bildenden Künste in Vienna. Hiking-trips through the Austrian Alps and northern Italy awoke a love for landscapes, and he painted with his brush using watercolors in a very realistic and detailed style. In 1833, inspired by a visit to Venice and neighbouring cities, he also made a number of architectural paintings.

Alt demonstrated a remarkable talent for expressing certain peculiarities in nature. He managed to paint nature authentically by focusing on the different hues of sky, the colour-tone of the air and the vegetation. His later works came closer to Impressionism. His perspectives on architecture were interesting, and he often chose everyday objects to paint. The painting of interior views also became one of his strong points, giving him attention in Vienna.

He visited and worked for a while in Rome and Naples; after that he visited the lakes of Lombardy, then Galicia, Bohemia, Dalmatia, Bavaria and then returned multiple times to Italy. In 1863 he went to the Crimea to paint some views of an estate of the Empress, and in 1867 he went to Sicily.

Alt died in Vienna in 1905. More on Rudolf Ritter von Alt

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

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01 Painting of the Canals of Venice. Henry Martin Gasser’s The Supply Boat , with footnotes. #89

Henry Martin Gasser, American, 1909-1981
The Supply Boat
Watercolor and gouache with traces of pencil on paper laid to board
12 3/4 x 17 inches
Private collection

Henry Martin Gasser, American (1909 – 1981)was born in Newark, New Jersey. He lived, studied and worked in New Jersey for his entire life. A Master at watercolor and oil his work consisted of, in his own words, “everyday subjects that are available to most of us-street scenes, back yards, trees, old houses, etc I looked for them in front of houses, in backyards, public parks, and elsewhere”. He also painted numerous harbor and fishing village scenes. His Paintings contain a great deal of what he called “solitary silence” created by chosen subject matter such as a “Coming Storm”, “Night in the Park”, “Shadows”… He felt that Design was very important and meant the difference between a mediocre work and a truly professional one. It is here where Gasser excelled, his work demonstrates a sense of composition that gained wide spread appreciation for his work.

He got his background in art studying at the Newark School of Fine and Industrial Art and the Grand Central School of Art. This was followed by study at the Art Students League of New York in the classes of Robert Bracman. He later studied privately under John R. Grabach. He is represented in over fifty museum collections and numerous important private ones as well. He served as Director of the Newark School of Fine and Industrial Art from 1946-54 then continued lecturing and demonstrating for most of the remainder of his life. He also wrote numerous books on painting. He died in Orange, NJ in 1981. More on Henry Martin Gasser

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01 Painting of the Canals of Venice, Hercules Brabazon Brabazon’s Zattere, Venice , with footnotes. #88

Hercules Brabazon Brabazon, (1821 – 1906)
Zattere, Venice
Gouache and watercolour
8.75 x 10.75in.
Private collection

The Zattere was built in 1519 and first used as a landing dock for the delivery of timber used to construct ships and buildings, which gave the quay the name Zattere, Italian for raft.

The timber gone, the Zattere today is a spacious promenade that runs along the entire southern shore of Venice’s Dorsoduro District, from the Marittima and San Basilio all the way to the Punta della Dogana. The island of Giudecca lies immediately to the south and a walk along the Zattere provides excellent Chiesa del Redentore, La Giudecca, Venice. More on The Zattere

Hercules Brabazon Brabazon (born Hercules Brabazon Sharpe; 27 November 1821 – 14 May 1906) was an English artist, accomplished in Turner-manner watercolours.

Brabazon was the younger son of Hercules Sharpe. Initially raised in Paris, he moved with his family to Oaklands, an estate near Sedlescombe, East Sussex, in 1832. He attended Harrow School, the École Privat, Geneva, and Trinity College, Cambridge, graduating with a B.A. in mathematics in 1844.

His father then wanted him to study law, but instead he left England and went to Rome to study music and art His father attempted to make him return by reducing his allowance, but in 1847, upon the death of his elder brother, he gained financial independence when he inherited family estates in Connaught, the will requiring that he change his surname to Brabazon. From then on he led a life of travel, art study and painting.

In 1858 he inherited Oaklands, whose management he left to his brother-in-law while he continued to travel – mostly in Europe, but with trips to Africa and India – always returning with his watercolours. Describing himself as living “for Art and Sunshine”, he viewed himself as a gentleman amateur, and did not show or try to sell his work until his mid-seventies.

With the encouragement of artist friends, particularly John Singer Sargent, he began to exhibit, first at the New English Art Club, followed by successful one-man exhibitions at the Goupil Gallery in Bond Street. He died at Sedlescombe in 1906, and is buried there More on Hercules Brabazon Brabazon

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02 Paintings of the Canals of Venice by John Bratby, with footnotes. #87

John Bratby R.A. (British, 1928-1992)
Lazy Back Canal and Arch and Gondola in Venice
Oil on canvas
91.5 x 121.5cm (36 x 47 13/16in)
Private collection

John Randall Bratby, (born July 19, 1928, Wimbledon, Surrey. — died July 20, 1992, Hastings, East Sussex), was a British painter who rose to prominence in the 1950s as a member of the Kitchen Sink School, a group of British social-realist artists who paralleled the literary Angry Young Men of the decade.

Although he was accepted at the Slade School of Fine Art, Bratby attended the Royal College of Art (1951–54). His first solo exhibition, mounted at the Beaux Arts Gallery in London (1954), gained him instant popularity. For many years after his artwork appeared in the motion picture The Horse’s Mouth (1958), he was identified in the popular imagination with the film’s protagonist, a bohemian artist. Bratby was particularly known for the feverish speed at which he worked and for the thick texture of his vividly coloured, Expressionistic paintings, into which he often incorporated everyday objects. His productivity did not decline with his popularity in the 1960s, as he continued to create thousands of sketches and paintings, including hundreds of portraits. He wrote several autobiographical novels, notably Breakdown (1960), and served as editor in chief of Art Quarterly from 1987. More on John Randall Bratby…

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01 Painting of the Canals of Venice, Epaminondas Thomopoulos’ Venice, with footnotes. #86

Epaminondas Thomopoulos, (1878 – 1974)
Venice
Oil on hardboard
29.2 x 29.2 cm
Private collection

Epameinondas Thomopoulos (1878 – January 4, 1976) went as a boarder to school at the Institute of Kapodistrias in Corfu from 1892 to 1895. In 1896 he went to Naples where he studied at the Academy of Fine Arts until 1899. He continued his studies at the Academy of Fine Arts in Rome from 1899 to 1900. From 1901 to 1903 he studied at the Academy of Fine Arts in Venice. In 1915 he became Professor of the School of Fine Arts in Athens teaching until 1948 and in 1945 he was elected Director of the School. He died in Athens in 1976.

Most of his works and drawings are related with nature. Many of these are preserved in the Patras city hall and the National Gallery of Greece.

In 1996, the city of Patras awarded a large spot in the National Gallery of the city. More on Epameinondas Thomopoulos

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01 Painting of the Canals of Venice, MARTÍN RICO Y ORTEGA, RIO DI SAN BARNABA, with footnotes. #85

MARTÍN RICO Y ORTEGA, Spanish, 1833 – 1908
RIO DI SAN BARNABA, VENICE
Oil on canvas
26½ by 20¾ in., 67.3 by 52.7 cm
Private collection

A native of Spain, Martín Rico y Ortega was captivated by Venice and dedicated his oeuvre to recording its architecture, people and daily life. This work, set on the Rio di San Barnaba, features the Chiesa di San Barnaba in the foreground with Santa Maria dei Carmini beyond. More on this painting

The Chiesa di San Barnaba is a small Neoclassical-style church in the district of Dorsoduro in Venice. It is dedicated to the Apostle Saint Barnabas.

A church at the site was built in the ninth century, but destroyed by fire in 1105. Rebuilt in 1350, it was reconstructed in its present form in 1776 . The 11th-century campanile, detached from the main body of the church, has a pine-cone shaped spire from the 1300s.

A scene in the 1989 film Indiana Jones and the Last Crusade was shot in the Campo San Barnaba in front of the church, with the church’s façade as an imaginary library. More on The Chiesa di San Barnaba

Martín Rico y Ortega (12 November 1833, El Escorial – 13 April 1908, Venice, Italy) was a Spanish painter of landscapes and cityscapes. Rico was one of the most important artists of the second half of the nineteenth century in his native country, and enjoyed wide international recognition.

Rico was born in Madrid and received his earliest formal training at the city’s Real Academia de Bellas Artes de San Fernando, where he studied under Jenaro Pérez Villaamil. In 1860, having been awarded a government-sponsored scholarship, Rico moved to Paris to continue his studies.

His landscapes depict the French and Swiss countryside in a fully accomplished Realist style. Toward the end of 1870, due to political and social unrest caused by the outbreak of the Franco-Prussian War, Rico decided to leave France and return to his native Spain.

Rico moved to the southern city of Granada, joining Fortuny and his wife Cecilia, as well as the painter Ricardo de Madrazo. The three artists worked closely during this period, with the styles of Rico and Fortuny overlapping so much that their watercolors—a specialty for both artists—were often confused for one another. It was during this time that, through Fortuny’s influence, Rico’s paintings began to reveal a newfound sense of luminosity and color. His time in Andalucía was, according to his memoirs, one of his happiest, and also one of his most artistically productive periods. More on Martín Rico y Ortega

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01 PAINTING OF THE CANALS OF VENICE BY GIULIO TURCATO, WITH FOOTNOTES. #83

Giulio Turcato, (1912 – 1995)
Venice
Oil on canvas
cm 37 x 47
Private collection

Giulio Turcato (16 March 1912 in Mantua – 22 January 1995 in Rome) was an Italian artist, belonging to both figurative and abstract expressionist currents.

Turcato left Mantua and attended the Venice Academy’s school of nude studies in the early 1930s before moving to Milan and finding work in the firm of the architect Giovanni Muzio in 1937. Pulmonary illness led to frequent stays in sanatoriums. Having taken up painting, he found stimuli in the Cubist art of Pablo Picasso. His long participation in the Venice Biennale began by invitation with the 23rd Esposizione Internazionale d’Arte della Città di Venezia in 1942. He then moved to Rome a few months later and joined the Resistance. A signatory of the manifesto of the Nuova Secessione Artistica Italiana in 1946, he was a founding member of the Marxist-leaning, abstract art group: Forma 1 in 1947, with Ugo Attardi, Pietro Consagra, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato. In 1948, he helped found the Fronte Nuovo delle Arti. His art is abstract with expressionist overtones. The decision of the Venice Biennale to devote a room exclusively to his work at the 29th Esposizione Internazionale d’Arte della Città di Venezia in 1958 contributed to his international renown. He took part in Documenta II the following year and joined the Continuità group in 1961. More on Giulio Turcato

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01 Painting of the Canals of Venice by the artists of their time, with footnotes. #84

Rhonda Carleton Holmes Nicholls, American (1854-1930)
Woman beside a canal, Venice
Oil on panel,
17 x 14 inches
Private collection

Rhoda Holmes Nicholls (March 28, 1854 – September 7, 1930) was an English-American watercolor and oil painter, born in Coventry, England. She studied art in England and Italy, and her work was viewed and praised at the time by the queens of both countries. A body of work was created in South Africa by Nicholls of Port Elizabeth area’s scenery, wildlife and architecture. She lived there on her brothers’ 25,000-acre ostrich farm for one year.

Her watercolor paintings and illustrations were published in journals, and her oil paintings won awards in the United States and Europe. Nicholls was a successful artist, writer and art instructor. She was actively involved in many art organizations as a member and leader. More on Rhoda Holmes Nicholls

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01 Painting of the Canals of Venice by the artists of their time, with footnotes. #81

Thomas Moran, (American, 1837-1926)
Venice, c. 1890
Oil on canvas
20 x 30 inches (50.8 x 76.2 cm)
Private collection

Moran was especially fond of using Venice as a theme, particularly because its large areas of expressive sky and reflective water were well suited to his interest in creating luminous effects. He wove references to activities along the city’s waterways into his compositions, along with buildings, pilings, boats and their reflections. It seems significant to note that this 1890 painting was executed immediately following the two visits he made to the site, in 1886 and 1889. More on this painting

Thomas Moran (February 12, 1837 – August 25, 1926) from Bolton, England was an American painter and printmaker of the Hudson River School in New York whose work often featured the Rocky Mountains. Moran and his family, wife Mary Nimmo Moran and daughter Ruth, took residence in New York where he obtained work as an artist. He was a younger brother of the noted marine artist Edward Moran, with whom he shared a studio. A talented illustrator and exquisite colorist, Thomas Moran was hired as an illustrator at Scribner’s Monthly. During the late 1860s, he was appointed the chief illustrator for the magazine, a position that helped him launch his career as one of the premier painters of the American landscape, in particular, the American West.
Moran along with Albert Bierstadt, Thomas Hill, and William Keith are sometimes referred to as belonging to the Rocky Mountain School of landscape painters because of all of the Western landscapes made by this group. More on Thomas Moran

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Umberto Lilloni; Venice 01 Painting of the Canals of Venice by the artists of their time, with foot notes. #79

Umberto Lilloni (Milan, 1898–1980) was an Italian painter.

Lilloni interrupted his studies at the Brera Academy of Fine Arts in 1917 when World War I broke out. Alternating landscape with figure painting in the 1920s, he received his first official recognition with the Prince Umberto Prize in 1927. His participation in the Venice Biennale began in 1928 with the 16th Esposizione Internazionale d’Arte della Città di Venezia. Involvement with the Novecento Italiano movement led to participation in their second group show in Milan in 1929. The influence of Chiarismo can also be seen in the gradual lightening of his palette. His first solo exhibition was held at the Galleria Bardi, Milan, in the same year. While the 1930s saw increased participation in exhibitions, including the Rome Quadrenniale and the Brera exhibitions at the national level, the art world showed less interest in his painting after World War II. More on Umberto Lilloni

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, and 365 Saints, also visit my Boards on Pinterest

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Benjamin Chambers Brown, Venice 01 Painting of the Canals of Venice, with footnotes. #80

Benjamin Chambers Brown (1865-1942 Pasadena, CA) — **Benjamin Chambers Brown, (1865-1942 Pasadena, CA)**
**Venice**
Oil on canvas
18″ H x 24″ W
Private collection

Benjamin Chambers Brown (July 14, 1865 – January 19, 1942) was a California Impressionist landscape artist. He was one of their five children. He grew up in Little Rock, Arkansas. Brown was trained as a photographer. He studied at the University of Tennessee, and later at the St. Louis School of Fine Arts under Paul Harney and John Fry in 1884. He studied in Paris at the Académie Julian under Jean-Paul Laurens and Jean-Joseph Benjamin-Constant in 1890.

During his early career, Brown traveled and worked in St. Louis, Little Rock and Texas. In St. Louis, Brown taught at the St. Louis Art School. He went on to open his own school in Little Rock. He initially specialized in portraiture and still life. Upon moving to Pasadena in 1896, he began to paint landscapes. By 1905 he had become famous for his paintings. From 1909 to 1910, Brown had a studio in Mill Valley, California.

His first etchings were done in 1914. He co-founded the Print Makers of Los Angeles with his brother Howell in 1914, which later became the Los Angeles Society of Printmakers. His notable works include his impressionist landscapes of Sierra peaks and field poppies.

Brown tried to sell his artwork in New York City; however, it did not sell as well as it had in California. Instead of opening a studio in the city, he began to sign California under his own signature to show how proud he was to be a Californian, in spite of potential stigmas. More Benjamin Chambers Brown

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, and 365 Saints, also visit my Boards on Pinterest

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Thomas Moran, Venice 02 Painting of the Canals of Venice, with foot notes. #78

Thomas Moran (February 12, 1837 — August 25, 1926) from Bolton, England was an American painter and printmaker of the Hudson River School in New York whose work often featured the Rocky Mountains. Moran and his family, wife Mary Nimmo Moran and daughter Ruth, took residence in New York where he obtained work as an artist. He was a younger brother of the noted marine artist Edward Moran, with whom he shared a studio. A talented illustrator and exquisite colorist, Thomas Moran was hired as an illustrator at Scribner’s Monthly. During the late 1860s, he was appointed the chief illustrator for the magazine, a position that helped him launch his career as one of the premier painters of the American landscape, in particular, the American West.

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Federico del Campo, A View of The Scuola Grande di San Marco, 01 Painting of the Canals of Venice, with foot notes. #77

The Scuola Grande di San Marco is a building in Venice. It was originally the home to one of the Scuole Grandi of Venice, or six major confraternities, but is now the city’s hospital. It faces the Campo San Giovanni e Paolo, one of the largest squares in the city.

The edifice was built by the Confraternity of San Marco in 1260 to act as its seat. In 1485, however, it was destroyed by a large fire, and rebuilt in the following twenty years. While decorated with the polished marble elements of Renaissance classicism, the proliferation of arches and niches adds a retrogressive Byzantine flavor, an architectural feature of many conservative Venetian styles. One of the most notable aspects of the façade is the use of trompe-l’œil archways and portals on the ground floor, all executed in different types of marble.

Jacopo Tintoretto furnished the Scuola with three paintings Miracle of the Slave (also known as The Miracle of St. Mark, 1548), St Mark’s Body Brought to Venice, painted between 1562 and 1566, both paintings are currently housed in the Gallerie dell’Accademia in Venice, and Finding of the body of St Mark also painted between 1562 and 1566, an now held in the Pinacoteca di Brera in Milan. More on The Scuola Grande di San Marco

Federico del Campo (1837-1923) was a Peruvian painter who was active in Venice where he was one of the leading vedute painters of the 19th century. Del Campo was born in Lima and left his native Peru at a young age. Nothing is known with certainty about his early studies in Peru. He studied at Madrid’s Real Academia de Bellas Artes de San Fernando (Royal Academy of Fine Arts of San Fernando) in Madrid from around 1865. Here he established a friendship with Lorenzo Valles, a history painter. Del Campo subsequently travelled to Italy and painted in Naples, Capri, Rome, Assisi and Venice. During a visit to France he studied new artistic developments in Paris. From 1880, he exhibited works at the annual Salon van de Société des Artistes Français. In 1880 he established himself in Venice.

Here there already was a seizable community of emigré artists, such as Antonietta Brandeis, and the Spanish painters Martín Rico y Ortega, Mariano Fortuny and Rafael Senet. He became good friends with Martín Rico. The two artists worked sometimes together painting the Venetian scenes that were popular with the increasing number of visitors to that city. They responded thus to the large international market for their city views of Venice. Demand for del Campo’s views was so strong, that he painted several views multiple times.

Particularly English tourists were taken by del Campo’s vedute of Venice. This was probably the reason why he moved to London in 1893 where he worked for a clientele of aristocrats and successful merchants. He was represented by art dealer Arthur Tooth who was able to organize a special exhibition of his work in Chicago during the World’s Columbian Exposition of 1893. This success likely ensured del Campo’s comfortable life style. Little is known about his last two decades but it is likely that he died in London in 1923. More on Federico del Campo

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José García y Ramos, Bridge of Sighs 01 Painting of the Canals of Venice, with foot notes. #76

The Bridge of Sighs is an enclosed bridge made of white limestone. It has windows with stone bars, passes over the Rio di Palazzo, and connects the New Prison to the interrogation rooms in the Doge’s Palace.

The view from the Bridge of Sighs was the last view of Venice that convicts saw before their imprisonment. The bridge’s name, given by Lord Byron, comes from the suggestion that prisoners would sigh at their final view of beautiful Venice through the window before being taken down to their cells. In reality, the days of inquisitions and summary executions were over by the time the bridge was built. More on The Bridge of Sighs

José García Ramos ( Seville , 1852 – † Seville, April 2 , 1912 ), was a Spanish painter. Born in the city of Seville in the mid- nineteenth century. He was one of the main exponents of Andalusian costumbrista and regionalist painting of his time, and one of the best teachers of Seventh-century Seville school.

His artistic beginnings were developed between the cities of Seville and Rome, and are marked by his training in the workshop of José Jiménez Aranda and his dealings with Mariano Fortuny, whom he would meet in the Italian capital. A second stage of this artist is characterized by its luminous and colorful drawing, able to capture with skill the customs and human types of Seville where lived, sometimes for magazines such as Black and White. In his final stage, García Ramos shows his talent as a poster designer, with works made to announce events, such as the Spring Festival or some famous plays of the moment.

Part of his work is in the Museum of Fine Arts of Seville, although most of his production is divided into private collections, since his work was very tasteful of the time and managed to sell a lot of pieces.

In the Sevillian museum there are about twenty paintings, of which, and for lack of space, only about a third is usually exposed to the public. More on José García Ramos

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Martín Rico y Ortega, VENETIAN CANAL, SAN VIDAL IN THE DISTANCE 01 Painting of the Canals of Venice, with foot notes. #75

San Vidal is a former church, and now an event and concert hall located at one end of the Campo Santo Stefano in the Sestiere of San Marco, where it leads into the campiello San Vidal, and from there to the Ponte dell’Accademia that spans the Grand Canal and connects to the Sestiere of Dorsoduro, Venice, Italy.

The church at the site was erected in the year 1084 by Doge Vitale Falier. The facade (1734–37), designed by Andrea Tirali, is sculpted portraits of the Doge Carlo Contarini and his wife Paolina.

At present in 2018, the church is deconsecrated, and the chamber music group Interpreti Veneziani performs concerts at the church. More on San Vidal

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Emile BERNARD, Two Venetians on the Salute Bridge 01 Painting of the Canals of Venice by the artists of their time, with foot notes. #74

Emile Henri Bernard (1868 - 1941) — **Emile BERNARD, 1868 – 1941**
**Two Venetians on the Salute Bridge, c. 1923**
Oil on canvas
h: 119.50 w: 98.50 cm
Private collection

Santa Maria della Salute (English: Saint Mary of Health), commonly known simply as the Salute, is a Roman Catholic church and minor basilica located at Punta della Dogana in the Dorsoduro sestiere of the city of Venice, Italy.

It stands on the narrow finger of Punta della Dogana, between the Grand Canal and the Giudecca Canal, at the Bacino di San Marco, making the church visible when entering the Piazza San Marco from the water. The Salute is part of the parish of the Gesuati and is the most recent of the so-called plague churches.

In 1630, Venice experienced an unusually devastating outbreak of the plague. As a votive offering for the city’s deliverance from the pestilence, the Republic of Venice vowed to build and dedicate a church to Our Lady of Health (or of Deliverance, Italian: Salute). The church was designed in the then fashionable baroque style by Baldassare Longhena. Construction began in 1631. Most of the objects of art housed in the church bear references to the Black Death.

The dome of the Salute was an important addition to the Venice skyline and soon became emblematic of the city, inspiring artists like Canaletto, J. M. W. Turner, John Singer Sargent, and the Venetian artist Francesco Guardi. More on Santa Maria della Salute

Émile Henri Bernard (28 April 1868 – 16 April 1941) was a French Post-Impressionist painter and writer, who had artistic friendships with Vincent van Gogh, Paul Gauguin and Eugène Boch, and at a later time, Paul Cézanne. Most of his notable work was accomplished at a young age, in the years 1886 through 1897. He is also associated with Cloisonnism and Synthetism, two late 19th-century art movements. Less known is Bernard’s literary work, comprising plays, poetry, and art criticism as well as art historical statements that contain first hand information on the crucial period of modern art to which Bernard had contributed. More on Émile Henri Bernard

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don’t own any of these images – credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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Sir Muirhead Bone, MIDNIGHT IN VENICE 01 Painting of the Canals of Venice, with foot notes. #73

Sir Muirhead Bone, (born March 23, 1876, Glasgow, Scotland—died October 21, 1953, Ferry Hinksey, Oxford, England), Scottish artist who is best known as an etcher and drypoint engraver of architectural subjects.
Bone first studied architecture and then art at the Glasgow School of Art. Attracted to the picturesque aspect of buildings, he began to depict views of his native town of Glasgow, among them Portfolio (1899), a series of etchings, and Glasgow: Fifty Drawings (1911). He generally worked in drypoint or, as a draftsman, he used pencil, charcoal, and sepia. In 1901 he moved to London, where a 1903 exhibition of his works established his fame. Throughout his career, Bone focused primarily on architectural and landscape subjects, sometimes depicting locations from his foreign travels.
In 1936 Bone published Old Spain, a popular two-volume collection of watercolours and drawings accompanied by a text by his wife. During World Wars I and II he served as official artist with the British forces. He was knighted in 1937. More on Sir Muirhead Bone

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I don’t own any of these images – credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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John Randall Bratby; VENICE WASHING 01 Painting; the Canals of Venice, with foot notes. #72

JOHN BRATBY R.A. (BRITISH 1928-1992) — **John Randall Bratby R.A. (BRITISH 1928-1992)**
**VENICE WASHING, c. 1988**
Oil on canvas
122cm x 92cm (47.5in x 35.8in)
Private collection

John Randall Bratby RA (19 July 1928 – 20 July 1992). Despite inauspicious beginnings at Kingston School of Art (which he left upon failing an intermediate exam in arts and crafts), John Bratby’s enormous artistic potential soon earned him a scholarship to the Royal College of Art, and would see him become one of the major, and most colourful, figures in twentieth century British art. Originally drawn to Neo-Romanticism, in the post-war years Bratby would become a key exponent of the Kitchen Sink Movement, representing a dramatic shift towards realism and a sharp focus on the details of everyday existence, coupled with an angry sense of social inequality.

Bratby’s work was always suffused with intense colour, and this, along with the less specifically working-class setting of his paintings, distinguished his art from that of his contemporaries, though collectively they would represent Britain in the Venice Biennale of 1956. Although initially left uninspired by Italy when he visited it on a travelling scholarship, after the tumultous years of the 1950’s in which he was decried and celebrated in equal measure by the British media, Italy, and Venice in particular, would prove an enduring fascination for Bratby.

He would travel throughout the eighties, creating works such as this painting, typical of his oeuvre in its thickly-applied and vibrant-toned paint, and in its celebration, not of the architectural glories of Venice, but rather the somewhat more quotidien detail of its residents’ washing stretching over a canal to dry. More on John Randall Bratby

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don’t own any of these images – credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

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Thomas Bush Hardy; Santa Maria De La Salute 01 Painting of the Canals of Venice, with foot notes. #66

Thomas Bush Hardy (1842, Sheffield – 1897, Maida Vale, London) was a British marine painter and watercolourist. As a young man he travelled in the Netherlands and Italy. In 1884 Hardy was elected a Member of the Royal Society of British Artists. He exhibited with the Society and also at the Royal Academy.

His paintings feature coastal scenes in England and the Netherlands, the French Channel ports and the Venetian Lagoon.

Hardy had nine children. His son Dudley Hardy was a painter, illustrator and poster designer. His daughter Dorothy received an MBE after working as a nurse in the First World War. He died on 15 December 1897 in Maida Vale, London. More on Thomas Bush Hardy

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, and The Canals of Venice

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don’t own any of these images – credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

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Thank you for visiting my blog and also for liking its posts and pages.

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