{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-572d6a42.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-f4d0de30.css\" media=\"all\" /\u003e\n\u003cdiv data-title='Exhibition celebrates 250th anniversary of the death of the Venetian painter' data-url='/boclips/videos/5c54d785d8eafeecae20c9ee' data-video-url='/boclips/videos/5c54d785d8eafeecae20c9ee' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nExhibition celebrates 250th anniversary of the death of the Venetian painter\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eLEADIN:               A major retrospective covering the life works of the great Venetian painter, Canaletto opens in Rome tomorrow (11th April 2018).              Celebrating the 250th anniversary of his death, the exhibit charts his...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eLEADIN: \u003cbr/\u003e              A major retrospective covering the life works of the great Venetian painter, Canaletto opens in Rome tomorrow (11th April 2018).\u003cbr/\u003e              Celebrating the 250th anniversary of his death, the exhibit charts his entire career spanning more than 70 years. \u003cbr/\u003e              STORYLINE:\u003cbr/\u003e              Canaletto chose his birthplace - Venice - as his most celebrated subject, but it is Italy's capital that is hosting a major retrospective of the artist's works for the first time at the Museum of Rome.\u003cbr/\u003e              Opening to coincide with the 250th anniversary of his death in 1768, the exhibit brings together 68 paintings, drawings and documents spanning Canaletto's entire career. \u003cbr/\u003e              The works have been gathered from museums around the world, including Moscow, Paris, Budapest, London, Wien, Boston, Kansas City, Cincinnati, Milan, Turin, Rome and Venice. \u003cbr/\u003e              \"This is an exhibition for the anniversary for the 250 years from his death. An anniversary is always a good opportunity to represent the features of an artist and his whole artistic life. This was also the case of this exhibition. It is a tale in nine episodes of his entire artistic career. Since the very beginning when he was still a theatre set designer,\" says curator, Bozena Anna Kowalczyk. \u003cbr/\u003e              Giovanni Antonio Canal, better known as Canaletto, was born in 1697 in Venice, when the lagoon city was still one of the most powerful and refined trade and art capitals in Europe. His descriptive paintings, with their hyper-realistic level of detail, became the most famous iconography of Venice in 18th century forming the image of Venice for travellers of the Grand Tour. \u003cbr/\u003e              Canaletto became very esteemed and sought after by rich British art lovers who after travelling to Italy, often commissioned many of his famous wide views of the Venice. \u003cbr/\u003e              He was known for slightly altering the perspective, the colours and daily life along the canals in order to please northern European tastes. The colours became warmer and the perspective wider, as if he was using a sort of fish eye.\u003cbr/\u003e              \"We are aware of the fact that there are the opinions of the English agents and clients who describe him as a greedy and stingy artist who was changing the price every day and as somebody you have to be very careful with as he could not deliver the painting. Basically you have to take a lot of precautions to deal with him. But I think this is a sort of fictional image, also because the idea of such a self-confident artist works and is attractive. But in the end I believe that Canaletto was an humble, calm man who loved his work, loved Venice, but also loved London, its castles, the landscape,\" says Kowalczyk.\u003cbr/\u003e              As part of the exhibit, for the first time the \"Chelsea from Battersea reach\" canvas will be reunited since it was cut into two paintings and sold separately prior to 1802. The left hand, belongs to the National Trust Collection and the right is normally kept at the Havana National Museum. Today they are reunited.  \u003cbr/\u003e              \"It was a very demanding exhibit, it did obtain extraordinary loans from every side of the world, and it has now been two years that the Rome Museum proposes itself not only as a great research location but also a great exhibit location, it is a museum for the city but it is also a museum that offers new proposals, new offers for both the citizens and the tourists,\" comments Federica Pirani, chief of the exhibition department at the Rome culture superintendence.  \u003cbr/\u003e              Among the most noticeable works of art, visitors will be able to admire the famous \"Canal Grande from North, toward Rialto bridge\" and \"Canal Grande with Santa Maria della Carita'\", displayed together with a manuscript from the Lucca's library explaining the details of the commissioning of the painting.\u003cbr/\u003e              \"Well, we don't have to expect from Canaletto the real reproductions of the places, these places are very rich of details, where the light goes all around, places that are marvellously reproduced, but these are places that remain in the mind of the audience, even if they are not as the real ones and that does the trick, the trick that Canaletto introduces in his every piece and that's why is so fascinating seeing it,\" says Kowalczyk. \u003cbr/\u003e              It has long been thought that Canaletto used a camera obscura to help him perfect the intricate detail in his paintings.  It was thought that he used the images -  created by passing light through a pin hole -  to trace from, but research using infrared cameras on a selection of his work has revealed images meticulously detailed using pencil.\u003cbr/\u003e              \"Nowadays there is a big debate about the effective use of the darkroom, the academic world is split in two, as the English deny it while the Italians recently affirmed its use, I'm in the middle of these two positions. This exhibit shows that Canaletto visited Venice, London and then also Rome with a notebook in his pocket and he drew many hands free sketches and these sketches were the basis of his work and then also (the use of) the darkroom that allowed him to use the perspectives,\" says Kowalczyk.  \u003cbr/\u003e              Canaletto spent almost ten years in London, his studio was near Regent's park. He died in poverty in Venice in 1768. \u003cbr/\u003e              \"Canaletto 1697-1768\" runs from 11th April to 19th August 2018 at the Museum of Rome.\u003cbr/\u003e            \u003cbr/\u003e\u003cbr/\u003e              Rome, Italy - 10 April 2018\u003cbr/\u003e              1. Various exterior of Museo di Roma (Museum of Rome) when Canaletto exhibition is being held\u003cbr/\u003e              2. Various of people at Canaletto's exhibition premiere, looking at \"The Bucintoro returning at the wharf on Ascension day, Venice\" (1729 ca.)\u003cbr/\u003e              3. Various details of Gondolas and various characters of \"The Bucintoro returning at the wharf on Ascension day, Venice\" \u003cbr/\u003e              4. SOUNDBITE (Italian), Bozena Anna Kowalczyk, curator of the Canaletto exhibition: \u003cbr/\u003e              \"This is an exhibition for the anniversary for the 250 years from his death. An anniversary is always a good opportunity to represent the features of an artist and his whole artistic life. This was also the case of this exhibition. It is a tale in nine episodes of his entire artistic career. Since the very beginning when he was still a theatre set designer.\"\u003cbr/\u003e              5. Wide of string quartet playing 18th century music\u003cbr/\u003e              6. Pan from Canaletto self portrait on exhibition poster to string quartet\u003cbr/\u003e              7. Close of Canaletto self portrait, detail of \"Capriccio classical and renaissance architectures\" (1753-1755 ca.)\u003cbr/\u003e              8. Wide of \"Capriccio classical and renaissance architectures\" (1753-1755 ca.)\u003cbr/\u003e              9. SOUNDBITE (Italian), Bozena Anna Kowalczyk, curator of the Canaletto exhibition: \u003cbr/\u003e              \"We are aware of the fact that there are the opinions of the English agents and clients who describe him as a greedy and stingy artist who was changing the price every day and as somebody you have to be very careful with as he could not deliver the painting. Basically you have to take a lot of precautions to deal with him. But I think this is a sort of fictional image, also because the idea of such a self-confident artist works and is attractive. But in the end I believe that Canaletto was an humble, calm man who loved his work, loved Venice, but also loved London, its castles, the landscape.\"\u003cbr/\u003e              10. Wide of two paintings that were originally part of the same painting \"Chelsea from Battersea reach\" - the painting was cut in two smaller paintings and sold separately\u003cbr/\u003e              11. Pan right from the National Trust Collection half of the  \"Chelsea from Battersea reach\" to the right half normally kept in the Havana National Museum \u003cbr/\u003e              12. Detail of the \"Chelsea from Battersea reach\"\u003cbr/\u003e              13. Various of manuscript describing the commissioning of \"Il Canal Grande from north, toward Rialto bridge\" and \"Canal Grande with santa Maria della Carita' \" \u003cbr/\u003e              14. Wide of exhibition space\u003cbr/\u003e              15. SOUNDBITE (Italian), Federica Pirani, chief of the exhibition department at the Rome culture superintendence: \u003cbr/\u003e              \"It was a very demanding exhibit, it did obtain extraordinary loans from every side of the world, and it has now been two years that the Rome Museum proposes itself not only as a great research location but also a great exhibit location, it is a museum for the city but it is also a museum that offers new proposals, new offers for both the citizens and the tourists.\"\u003cbr/\u003e              14. People looking painting portraying venice\u003cbr/\u003e              15. Tilt down of \"Canal Grande with santa Maria della Carita'\", belonging to the Gianni and Marella Agnelli collection\u003cbr/\u003e              16. Woman looking at \"Il Canal Grande from north, toward Rialto bridge\" \u003cbr/\u003e              17. Detail of \"Il Canal Grande from north, toward Rialto bridge\" \u003cbr/\u003e              18. SOUNDBITE (Italian), Bozena Anna Kowalczyk, curator of the Canaletto exhibition: \u003cbr/\u003e              \"Well, we don't have to expect from Canaletto the real reproductions of the places, these places are very rich of details, where the light goes all around, places that are marvellously reproduced, but these are places that remain in the mind of the audience, even if they are not as the real ones and that does the trick, the trick that Canaletto introduces in his every piece and that's why is so fascinating seeing it.\"\u003cbr/\u003e              19. Wide of painting showing Venice landscape\u003cbr/\u003e              20. Close of Gondolas\u003cbr/\u003e              21. Various of exhibition staff putting ancient typical Venice clothes on dummy\u003cbr/\u003e              22. Tilt down of San Marco square painting\u003cbr/\u003e              23. SOUNDBITE (Italian), Bozena Anna Kowalczyk, curator of the Canaletto exhibition: \u003cbr/\u003e              \"Nowadays there is a big debate about the effective use of the darkroom, the academic world is split in two, as the English deny it while the Italians recently affirmed its use, I'm in the middle of these two positions. This exhibit shows that Canaletto visited Venice, London and then also Rome with a notebook in his pocket and he drew many handsfree sketches and these sketches were the basis of his work and then also (the use of) the darkroom that allowed him to use the perspectives.\"\u003cbr/\u003e              24. Various of \"Capitol hill\" painting by Canaletto\u003cbr/\u003e              25. 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