Canaletto

For other uses, see Canaletto (disambiguation).

Canaletto
Born	Giovanni Antonio Canal (1697-10-18)18 October 1697 Venice, Venetian Republic
Died	19 April 1768(1768-04-19) (aged 70) Venice, Venetian Republic (now Italy)
Nationality	Venetian
Education	Luca Carlevaris
Known for	Landscape art, etching
Patron(s)	Owen Swiny Joseph Smith

Giovanni Antonio Canal (18 October 1697 – 19 April 1768), commonly known as Canaletto (Italian: [kanaˈletto]), was an Italian painter of city views or vedute, of Venice, Rome, and London. He also painted imaginary views (referred to as capricci), although the demarcation in his works between the real and the imaginary is never quite clearcut. He was further an important printmaker using the etching technique. In the period from 1746 to 1756 he worked in England where he painted many views of London and other sites including Warwick Castle and Alnwick Castle. He was highly successful in England, thanks to the British merchant and connoisseur Joseph "Consul" Smith, whose large collection of Canaletto's works was sold to King George III in 1762.

Early career

Canaletto's birthplace

The Stonemason's Yard, painted c. 1725

The Entrance to the Grand Canal, Venice, c. 1730

He was born in Venice as the son of the painter Bernardo Canal, hence his mononym Canaletto ("little Canal"), and Artemisia Barbieri. Canaletto served his apprenticeship with his father and his brother. He began in his father's occupation, that of a theatrical scene painter. Canaletto was inspired by the Roman vedutista Giovanni Paolo Pannini, and started painting the daily life of the city and its people.

After returning from Rome in 1719, he began painting in his topographical style. His first known signed and dated work is Architectural Capriccio (1723, Milan, in a private collection). Studying with the older Luca Carlevarijs, a well-regarded painter of urban cityscapes, he rapidly became his master's equal.

In 1725, the painter Alessandro Marchesini, who was also the buyer for the Lucchese art collector Stefano Conti, had inquired about buying two more 'views of Venice', when the agent urged him to consider instead the work of "Antonio Canale... it is like Carlevaris, but you can see the sun shining in it."

Outdoor painting

Much of Canaletto's early artwork was painted "from nature", differing from the then customary practice of completing paintings in the studio. Some of his later works do revert to this custom, as suggested by the tendency for distant figures to be painted as blobs of colour – an effect possibly produced by using a camera obscura, which blurs farther-away objects – although research by art historians working for the Royal Collection in the United Kingdom has shown Canaletto almost never used a camera obscura.

However, his paintings are always notable for their accuracy: he recorded the seasonal submerging of Venice in water and ice.

Early and late work

View of the Entrance to the Venetian Arsenal, 1732

Canaletto's early works remain his most coveted and, according to many authorities, his best. One of his early pieces is The Stonemason's Yard (c. 1725, the National Gallery, London) which depicts a humble working area of the city. It is regarded one of his finest works and was presented by Sir George Beaumont in 1823 and 1828.

Later Canaletto painted grand scenes of the canals of Venice and the Doge's Palace. His large-scale landscapes portrayed the city's pageantry and waning traditions, making innovative use of atmospheric effects and strong local colours. For these qualities, his works may be said to have anticipated Impressionism.

His graphic print S. A. Giustina in Prà della Vale was found in the 2012 Munich Art Hoard.

Work in England

Architectural Capriccio, drawing, Morgan Library & Museum

The portico with a lantern, from the series Vedute, c. 1740–1744, etching

The first Westminster Bridge, 1746

Westminster Abbey with a procession of Knights of the Bath, 1749

Many of his pictures were sold to Englishmen on their Grand Tour, first through the agency of Owen Swiny and later the banker Joseph Smith, appointed British Consul in Venice in 1744. It was Swiny in the late 1720s who encouraged the artist to paint small topographical views of Venice with a commercial appeal for tourists and foreign visitors to the city. Sometime before 1728, Canaletto began his association with Joseph Smith, an English businessman and collector living in Venice, who later became the artist's principal agent and patron. Smith eventually acquired nearly fifty paintings, one hundred fifty drawings, and fifteen rare etchings from Canaletto, the largest and finest single group of the artist's works, that he sold to King George III in 1763.

In the 1740s Canaletto's market was disrupted when the War of the Austrian Succession led to a reduction in the number of British visitors to Venice. Smith also arranged for the publication of a series of etchings of "capricci" (or architectural phantasies) (capriccio Italian for fancy) in his vedute ideale, but the returns were not high enough, and in 1746 Canaletto moved to London, to be closer to his market.

He remained in England until 1755, producing views of London (including several of the new Westminster Bridge, which was completed during his stay) and of his patrons' houses and castles. These included Northumberland House for Sir Hugh Smithson, Bt., who by marriage later became the 2nd Earl of Northumberland; and Warwick Castle for Lord Brooke, later 1st Earl of Warwick. Smithson was one of the commissioners of Westminster Bridge, and it is "not impossible" that he had encouraged Canaletto to come to England and record the beginning of the bridge's life. His 1754 painting of Old Walton Bridge includes an image of Canaletto himself.

He was often expected to paint England in the fashion with which he had painted his native city. Canaletto's painting began to suffer from repetitiveness, losing its fluidity, and becoming mechanical to the point that the English art critic George Vertue suggested that the man painting under the name 'Canaletto' was an impostor. This may have been because Canaletto's nephew, Bernardo Bellotto, was also using his uncle's nickname; or more likely that the story had been but about by unscrupulous art dealers who had been passing off copies of Canaletto's own work and were anxious to see him return to Venice. Historian Michael Levey described his work from this period as "inhibited".

In order to refute this claim the artist, through an advertisement in a newspaper, invited "any Gentleman" to inspect his latest painting of St. James's Park at his studio in Silver Street (now Beak Street) off Golden Square; however, his reputation never fully recovered in his lifetime.

After his return to Venice, Canaletto was elected to the Venetian Academy in 1763 and appointed prior of the Collegio dei Pittori. He continued to paint until his death in 1768. In his later years he often worked from old sketches, but he sometimes produced surprising new compositions. He was willing to make subtle alterations to topography for artistic effect.

Market

His students included his nephew Bernardo Bellotto, Francesco Guardi, Michele Marieschi, Gabriele Bella, and Giuseppe Moretti. The painter, Giuseppe Bernardino Bison was a follower of his style.

Joseph Smith sold much of his collection to George III, creating the bulk of the large collection of works by Canaletto owned by the Royal Collection. in 1762, George III paid £20,000 for Consul Smith's collection of 50 paintings and 142 drawings. There are many examples of his work in other British collections, including several (19) at the Wallace Collection and a set of 24 in the dining room at Woburn Abbey. A large set of Canaletto works was also part of the collection of the Earls of Carlisle, however many were lost at the 1940 fire of Castle Howard and others were sold over the last century. Among those formerly at the Carlisle collection are The Bacino di San Marco: looking East, now at the Museum of Fine Arts, Boston (sold in 1939) and the pair Entrance to the Grand Canal from the Molo, Venice and The Square of Saint Mark's, Venice, now at the National Gallery of Art, Washington DC (sold in 1938). The last important venetian veduta at Castle Howard was by Bernardo Bellotto, A View of the Grand Canal Looking South from the Palazzo Foscari, which was sold at Sotheby's in July 2015 for £2.6 million.

Canaletto's views always fetched high prices, and as early as the 18th century Catherine the Great and other European monarchs vied for his grandest paintings. The record price paid at auction for a Canaletto is £18.6 million for View of the Grand Canal from Palazzo Balbi to the Rialto, set at Sotheby's in London in July 2005.

Works

Painting	Title	Date	Location
	Campo San Giacomo di Rialto, Venice	c. 1697-1768	Sotheby's - New York City
	Canal Scene, Venice - Walters	c. 1697-1768	Walters Art Museum - Baltimore, US
	Le Grand Canal à Sainte Lucie	c. 1697-1768	Fondation Bemberg - Toulouse, France
	The Grand Canal from Campo della Carità	c. 1697-1768	Venice Academy Gallery
	Venise la place Saint-Marc-Le	c. 1697-1768	Musée des beaux-arts de Brest - France
	Piazzetta in Venice	1700s	Alte Pinakothek, Munich, Germany
	Venice: the Grand Canal	1700s	LLL Art Galleries
	Capriccio Piazza San Marco	1720s	Metropolitan Museum of Art- Manhattan, New York
	The Grand Canal near the Rialto Bridge, Venice	1720s	Museum of Fine Arts, Houston- US
	Capriccio with Gothic church and lagoon	c. 1720-21	Galleria d'Italia - Palazzo Leoni Montanari, Vicenza
	Grand Canal, Looking Northeast from Palazo Balbi toward the Rialto Bridge	1720–1723	Ca' Rezzonico, Venice, Italy
	San Cristoforo, San Michele and Murano from the Fondamenta Nuove, Venice	1722–23	Dallas Museum of Art, Dallas, Texas, United States
	The Grand Canal in Venice with the Palazzo Corner Ca'Grande	1722–23	Gallery of Paintings of the Ancient Masters
	Piazza di San Marco, em Veneza	1723	Instituto Ricardo Brennand (IRB), Brazil
	Piazza San Marco in Venice looking West with the Campanile	1723	House of Liechtenstein, Liechtenstein
	Piazza San Marco Looking East along the Central Line	1723–24	Thyssen-Bornemisza Museum, Madrid, Spain
	Grand Canal, Looking East from the Campo San Vio (detail)	1723–24	Thyssen-Bornemisza Museum, Madrid, Spain
	Grand Canal, Looking East from the Campo San Vio	1723–24	Thyssen-Bornemisza Museum, Madrid, Spain
	Rio dei Mendicanti	1723–24	Ca' Rezzonico, Venice, Italy
	Piazza San Marco looking west towards San Geminiano	1723–24	Royal Collection, United Kington
	Rio dei Mendicanti (detail)	1723–24	Ca' Rezzonico, Venice
	The Rio dei Mendicanti	1723–24	Ca' Rezzonico, Venice
	The Piazzetta towards San Giorgio Maggiore	c. 1724	Royal Collection, Buckingham Palace, England
	The Grand Canal, Venice, Looking North East from the Palazzo Balbi to the Rialto Bridge	c. 1724	Private collection
	The Grand Canal, Looking North-East from Palazzo Balbi to the Rialto Bridge	c. 1724	Private collection
	The Riva degli Schiavoni	1724-30	Kunsthistorisches Museum, Vienna
	Dogana	1724-c.30	Kunsthistorisches Museum, Vienna
	The Stonemason's Yard	c. 1725	National Gallery, London, England
	Rio dei Mendicanti: Looking South	c. 1725	Gemäldegalerie Alte Meister, Dresden, Germany
	Entrance to the Grand Canal - Looking East	1725	Gemäldegalerie Alte Meister, Dresden, Germany
	Grand Canal - Looking North-East toward the Rialto Bridge (detail)	1725	Gemäldegalerie Alte Meister, Dresden, Germany
	Doge Palace	1725	Columbia Museum of Art, US
	The Parvis of the churches Saint Jean and Saint Paul	1725	Gemäldegalerie Alte Meister, Germany
	Il Canal Grande dalle prossimità del ponte di Rialto	1725	Pinacoteca Giovanni e Marella Agnelli, Turin, Italy
	The Grand Canal near the Ponte di Rialto	1725	Private collection
	The Bacino di San Marco, Venice	1725–26	Farnborough Hall, Warwickshire
	San Giacomo di Rialto	1725–26	Gemäldegalerie Alte Meister
	View of the Isles of San Michele, San Cristoforo and Murano from the Fondamenta Nuove	1725–28	Hermitage Museum, Saint Petersburg, Russia
	View of Church of San Giovanni dei Battuti on the Isle of Murano	1725–1728	Hermitage Museum, Saint Petersburg, Russia
	A View of Dolo on the Brenta Canal	1725–1729	Ashmolean Museum, Oxford, England
	Grand Canal: Looking from Palazzo Balbi	c. 1726	Gemäldegalerie Alte Meister, Dresden, Germany
	Grand Canal: Looking North from Near the Rialto Bridge	c. 1726	Gemäldegalerie Alte Meister, Dresden, Germany
	San Giacomo di Rialto	c. 1726	Gemäldegalerie Alte Meister, Dresden, Germany
	The Grand Canal near San Maria della Carità	1726	Pinacoteca Giovanni e Marella Agnelli, Turin, Italy
	Santi Giovanni e Paolo and the Scuola di San Marco	1726	Private collection
	The Bacino di San Marco, Venice, Seen from the Giudecca	1726	Upton House, National Trust, England
	Venice: the Grand Canal Looking North from the Rialto	1726–27	Royal Collection, Windsor Castle, England
	Rialto Bridge from the North	1726–27	Royal Collection, England
	The Reception of the French Ambassador Jacques–Vincent Languet, Comte de Gergy at the Doge’s Palace, Venice	1726–27	Hermitage Museum, Saint Petersburg, Russia
	Venice: S. Geremia and the Entrance to the Cannaregio	1726–1727	Royal Collection, Windsor Castle, England
	Canaletto-Embouchure du grand canal-musée de Grenoble	1726–28	Musée de Grenoble, France
	Veduta del Canal Grande	1726–28	Galleria degli Uffizi, Florencia, Italy
	The Stonemason's Yard	1726–1730 (or 1727)	National Gallery, London, England
	View of the Grand Canal	1726–28	Galleria degli Uffizi, Florencia
	Grand Canal - The Rialto Bridge from the South	1727	Holkham Hall
	View of the Salute Church from the entrance to the Grand Canal detalle	1727	Musées de la Ville de Strasbourg
	Venice: The Grand Canal from the Palazzo Vendramin-Calergi towards S. Geremia	1727–28	Royal Collection, Windsor Castle, England
	Bucentaur's return to the pier by the Palazzo Ducale	1727–1729	Pushkin Museum of Fine Arts, Russia
	Benetke, pogled s San Giorgio Maggiore	1727–1730	Pomurje Museum Murska Sobota, Slovenia
	The Grand Canal from the Campo San Vio	1728	National Gallery of Scotland
	The Clock Tower in the Piazza San Marco	1728–1730	Nelson-Atkins Museum of Art, Kansas City, US
	The Grand Canal near the Rialto Bridge, Venice	1728–1732	Museum of Fine Arts, Houston, US
	The Grand Canal with S. Maria della Salute towards the Riva degli Schiavoni	1729–1730	Royal Collection, England
	Return of the Bucintoro to the Molo on Ascension Day	1729–1732	Royal Collection, Windsor Castle, England
	The Grand Canal from Campo San Vio towards the Bacino	1729–1734	Royal Collection, Windsor Castle, England
	View of the Grand Canal	Late 1720s	Birmingham Museum of Art, Birmingham, Alabama, United States
	The Doge's Palace, Venice	c. 1730	Fitzwilliam Museum, Cambridge, England
	The Doge's Palace and Riva degli Schiavoni, Venice	c. 1730	Tatton Park, National Trust, England
	Rialto Bridge	c. 1730	Philadelphia Museum of Art, US
	Piazza San Marco with the Basilica	c. 1730	Fogg Art Museum, US
	Reception of the Ambassador in the Doge's Palace	c. 1730	Private collection
	View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo	c. 1730	Fitzwilliam Museum, Cambridge, England
	The Entrance to the Grand Canal, Venice	c. 1730	Museum of Fine Arts, Houston, Houston, United States
	The Grand Canal, Piazzetta and Dogana, Venice	c. 1730	Tatton Park, National Trust, England
	veduta del canale di santa chiara a venezia	c. 1730	Collections of the Musée Cognacq-Jay
	c. 1730	Private collection
	'View of Molo'	c. 1730	El Paso Museum of Art, US
	Canaletto, veduta del canale di santa chiara a venezia	c. 1730	Collections of the Musée Cognacq-Jay
	Canaletto, veduta del canale di santa chiara a venezia	c. 1730	Collections of the Musée Cognacq-Jay
	The Piazzetta, Venice, Looking North	1730s	Norton Simon Museum, Pasadena, California
	The Interior of Henry VII's Chapel, Westminster Abbey	1730s	Museum of London
	The Molo, Venice, from the Bacino di San Marco	1730s	Private collection Edward Howard, 9th Duke of Norfolk, England
	The Molo Seen from the Bacino di San Marco	1730s	Musée du Louvre, Paris, France
	Fonteghetto della Farina	1730s	Private Collection
	View of the Piazetta with the Southwest corner of the Doge Palace	1730s	Private collection
	Piazza di San Marco, looking towards the Church of San Geminiano Woburn	1730s	Woburn Abbey, England
	View Embarkation of the Doge of Venice, for the Ceremony of the Marriage of the Adriatic	1730s	Woburn Abbey, England
	Campo Santa Maria Formosa	1730s	Private collection
	The Bucintoro Returning to the Molo on Ascension Day after the Ceremony of Wedding the Adriatic	1730s	Bowes Museum, United Kingdom
	The Grand Canal, Venice, Looking South toward the Rialto Bridge	1730-39	Metropolitan Museum of Art, Manhattan
	Piazzetta Riva degli Schiavoni, Canaletto, WAF137, Alte Pinakothek Munich	1730 - 1740	Alte Pinakothek, Munich, Germany
	The Entrance to the Canal Grande at the Punta della Dogana and the Santa Maria della Salute	1730 - 1745	Rijksmuseum Amsterdam
	The Grand Canal seen from the Palazzo Balbi towards the Bridge of Rialto	1730 - 1750	Accademia Carrara, Italy
	Venice: the Grand Canal with S. Maria della Salute towards the Riva degli Schiavoni	1730	Royal Collection, Windsor Castle, England
	Dogenpalast	1730	Royal Collection, Windsor Castle, England
	Dogenpalast	1730	Private Collection
	Doge Palace	1730	Columbia Museum of Art, USA
	The Bacino di San Marco, Looking North	1730	National Museum, Cardiff, Wales
	The Canale di San Marco with the Bucintoro at Anchor	1730–1733	Windsor Castle, English
	The Bucintoro Returning to the Molo on Ascension Day	1730–1735	Bowes Museum, Barnard Castle, England
	Piazza San Marco, Venice	1730 –1735	Fogg Museum, Cambridge, Massachusetts
	Le Burchiello à Venise	1730 –1735	Musée Cognacq-Jay, Paris
	A Regatta on the Grand Canal	1730–1735	Bowes Museum, Barnard Castle, England
	Il Canale Grande a Rialto	1730–1750	Museo Nacional del Prado. Spain
	La Régate sur le Grand Canal	1731-32	Bowes Museum, Barnard Castle
	A Regatta on the Grand Canal	1732	Royal Collection at Windsor Castle
	View of the entrance to the Arsenal	1732	Private collection
	Return of the Bucentoro to the Molo on Ascension Day	1733–1734	Collection Buckingham Palace, England
	A View of the Rialto, Venice	1734–35	Sir John Soane's Museum, London, England
	The Piazza di San Marco, Venice	1734–35	Sir John Soane's Museum, London, England
	Venice: the Grand Canal from Campo San Vio towards the Bacino	1734–1760	Wallace Collection, London, England
	Venice: the Grand Canal with Santa Maria della Salute towards the Riva degli Schiavoni	1734–1762	Wallace Collection, London, England
	Venice: the Grand Canal from the Palazzo Foscari to the Carità	1734–1762	Wallace Collection, London, England
	Campo San Rocco	circa 1735	Private collection
	Piazza San Marco, Looking toward San Geminiano	circa 1735	Galleria nazionale d'arte antica di palazzo Corsini, Rome
	The Molo, Venice	c. 1735	Kimbell Art Museum, Fort Worth, Texas, United States
	View of the Piazzetta San Marco Looking South	c. 1735	Indianapolis Museum of Art, Indianapolis, Indiana, United States
	Venice: A Regatta on the Grand Canal	1735	National Gallery, London, England
	The Rialto Bridge from the South	1735	Galleria Nazionale d'Arte Antica di Palazzo Corsini, Italy
	The Feast Day of St Roch	1735	National Gallery
	View of the Bacino di San Marco in Venice	1735	Städel Museum, Germany
	Santi Giovanni e Paolo and the monument to Bartolomeo Colleoni	1735–1738
	The Quay of the Dogana	mid 1730s	Private collection
	View of Campo Santa Maria Formosa	mid 1730s	Private collection
	The Entrance to the Canal Grande at the Punta della Dogana and the Santa Maria della Salute Woburn	mid 1730s	Private collection, Woburn Abbey
	Grand Canal looking East from Palazzo Bembo to Palazzo Vendramin-Calergi Woburn	mid 1730s	Private collection
	View of San Zaccaria	mid 1730s	Private collection
	The Brenta Canal at Padua	1735 - 40	National Gallery of Art, London, England
	Entrance to the Grand Canal - from the West End of the Molo	1735 - 40	National Gallery of Art, Washington DC
	Venice the Bacino di San Marco from San Giorgio Maggiore	1735–1744	Wallace Collection, London, England
	View of the Riva degli Schiavoni	1736	Sir John Soane's Museum, London, England
	The Grand Canal at the Salute Church	c. 1736-38	Alte Pinakothek, Germany
	The Grand Canal at the Salute Church	c. 1736-38	Munich Old Pinacoteca
	Venezia, campo Santi Giovanni e Paolo	c. 1736-40	Royal Collection
	St. Mark's and the Clock Tower, Venice	c. 1737	National Gallery of Canada, Ottawa, Canada
	The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola	c. 1738	The J. Paul Getty Museum, Los Angeles
	Il Ritorno del Bucintoro al molo nel giorno dell'Ascensione (c.1738) Canaletto - Wells-Next-The-Sea, The Earl of Leicester and Trustees of the Holkham Estate.jpg	c. 1738	Holkham Hall, England
	Il Canal Grande dalla chiesa di Santa Maria di Nazareth	1738	Pinacoteca Giovanni e Marella Agnelli, Ialy
	The Campo Santi Giovanni e Paolo, Venice, with the West End of the Church and the Scuola di San Marco	1738–1739	Private collection
	The St Mark's Square, Venice	1738–1740	Detroit Institute of Arts, Detroit, Michigan, United States
	Bacino di San Marco	1738–1740	Museum of Fine Arts, Boston, United States
	The Grand Canal at the Salute Church	1738–1742	Private Collection
	Il Bucintoro al molo nel giorno dell'Ascensione	c. 1740	Pinacoteca Giovanni e Marella Agnelli, Turin, Italy
	View of Piazza San Marco in Venice	c. 1740	Musée Jacquemart André, Paris, France
	The Rialto Bridge in Venice	c. 1740	Musée Jacquemart André, Paris, France
	View of Mestre : alle Barche	c. 1740	Fondation Bemberg, Toulouse, France
	View of Dolo	c. 1740	Fondation Bemberg, Toulouse, France
	The Molo with the Library and the Entrance to the Grand Canal	c. 1740	Private collection
	The Church of the Redentore, Venice	c. 1740	Manchester Art Gallery
	The Piazzetta	1740s	Galleria Nazionale d'Arte Antica, Rome, Italy
	Arrival of the French Ambassador in Venice (detail)	1740s	Hermitage Museum, Russia
	The Piazzetta	1740s	Galleria Nazionale d'Arte Antica, Rome, Italy
	View of San Giuseppe di Castello	1740s	Private Collection
	- The Grand Canal, with an Imaginary Rialto Bridge and Other Buildings	1740s	Galleria nazionale di Parma, Italy
	Venice: The Campo SS. Giovanni e Paolo	1740	Royal Collection, Windsor Castle, England
	Regatta on the Canale Grande	1740	Royal Collection, National Gallery de London, England
	Venice The Basin of San Marco on Ascension Day	1740	National Gallery, London, England
	Venice: Santa Maria della Salute	1740	Metropolitan Museum of Art, New York City, United States
	A Regatta on the Grand Canal	1740	National Gallery, London, England
	Giovanni Antonio Canal, il Canaletto - Capriccio - The Grand Canal, with an Imaginary Rialto Bridge and Other Buildings - WGA03937.jpg	1740	Galleria nazionale di Parma
	Venice the Grand Canal with San Simeone Piccolo	1740	The Wallace Collection, Manchester Square, England
	The Reception of the French Ambassador	1740	Hermitage Museum, Russia
	The Molo with the Library and the Entrance to the Grand Canal	1740	Private collection
	The Porta Portello with the Brenta Canal in Padua	1740-43	Albertina, Vienna, Austria
	Venice. The Molo with Santa Maria della Salute	1740–1745	Wallace Collection, London, England Salute
	Interior of St Marks	1740–1745	Montreal Museum of Fine Arts, Canada
	Venice: the Riva degli Schiavoni	1740–1745	Wallace Collection, London, England
	View of the Grand Canal looking toward the Punta della Dogana from Campo Sant'Ivo	c. 1740-1745	Pinacoteca di Brera, Milan, Italy
	View of the Grand Canal from Campo San Vio	1740–1750	Ca' Rezzonico, Venice, Italy
	Venice: the Grand Canal from the Palazzo Foscari to the Carità	1740–1750	Wallace Collection, London, England
	Venice: the Grand Canal from the Palazzo Flangini to San Marcuola	1740–1750	Wallace Collection, London, England
	Venice: the Canale di Santa Chiara	1740–1750	Wallace Collection, London, England
	Venice the Grand Canal from the Palazzo Dolfin-Manin to the Rialto Bridge	1740-1750	Wallace Collection, London, England
	Venice the Dogana and Santa Maria della Salute from the Molo	1740–1760	Wallace Collection, London, England
	Prà della Valle in Padua	1741–1746	Museo Poldi Pezzoli, Milan, Italy
	Bernardo Bellotto, il Canaletto - Rio dei Mendicanti with the Scuola di San Marco	c. 1741	Gallerie dell'Accademia, Venice, Italy
	Canaletto, The Porta Portello Padua	1741–42	National Gallery of Art, Washington D.C., United States
	Rome: The Arch of Constantine	1742	Royal Collection, Windsor Castle, England
	Rome: The Arch of Septimius Severus	1742	Royal Collection, Windsor Castle, England
	Rome: The Arch of Titus	1742	Royal Collection, Windsor Castle, England
	Rome- Ruins of the Forum, Looking towards the Capitol	1742	Royal Collection, Windsor Castle, England
	Rome: The Pantheon	1742	Royal Collection, Windsor Castle, England
	The Square of Saint Mark's, Venice	1742–1744	National Gallery of Art, Washington D.C., United States
	Entrance to the Grand Canal from the Molo, Venice	1742–1744	National Gallery of Art, Washington D.C., United States
	Entrance to the Grand Canal; Looking East	1742–1744	Windsor Castle, England
	Rome: View of the Colosseum and the Arch of Constantine	1743	Royal Collection, Windsor Castle, England
	The Horses of San Marco in the Piazzetta	1743	Royal Collection, Windsor Castle, England
	Venice The Piazzetta Towards The Torre dell' Orologio	1743	Royal Collection Trust, United Kingtom
	Venice The Molo with the Prisons and the Doges' Palace	1743	Royal Collection Trust, United Kingtom
	An Island in the Lagoon with a Gateway and a Church	1743-44	Saint Louis Art Museum, United States
	Entrance to the Grand Canal; Looking East	1744	Royal Collection at Windsor Castle
	The Colleoni Monument in a Caprice Setting	1744	Royal Collection
	View of a River, Perhaps in Padua	1745	Private collection
	The Bucintoro	1745–1750	Thyssen-Bornemisza Museum, Madrid, Spain
	The River Thames with St. Paul's Cathedral on Lord Mayor's Day	1746–47	Lobkowicz Palace, Prague, Czech Republic
	London seen through an arch of Westminster Bridge	1746–47	Syon House, London
	Ruins with Figures	1747	Fitzwilliam Museum, Cambridge, England
	London: River Thames looking towards Westminster from Lambeth	1747	Lobkowicz Palace, Prague, Czech Republic
	Westminster Bridge from the North on Lord Mayor's Day	1747	Yale Center for British Art, University of Yale, US
	The Molo from the Basin of San Marco, Venice	1747–1750	San Diego Museum of Art, San Diego, California
	Venice, a view of the Churches of the Redentore and San Giacomo, with a moored Man-of-war, Gondolas and Barges	1747–1755	Private collection
	The South Façade of Warwick Castle	1748	Thyssen-Bornemisza Museum, Madrid, Spain
	Warwick Castle	1748–49	Yale Center for British Art, New Haven, United States
	The Thames at Westminster, London	1749	Penrhyn Castle, National Trust, Gwynedd, Wales
	The Prisons	probably late 1740s	Private collection
	Venice, The Church of San Giorgio Maggiore	probably late 1740s	Private collection
	Capriccio with Ruins and Porta Portello, Padua	1750s	Gallerie dell'Accademia, Venice, Italy
	A View of the Molo and the Riva degli Schiavone in Venice	1750	Yale University Art Gallery, New Haven, United States
	The Thames from the Terrace of Somerset House, Looking toward St. Paul's	1750	Yale Center for British Art, New Haven, United States
	The Thames from the Terrace of Somerset House, Looking toward Westminster	1750	Yale Center for British Art, New Haven, United States
	The Rialto Bridge and The Church of S. Giorgio Maggiore	c. 1750	North Carolina Museum of Art, Raleigh, North Carolina, United States
	Capriccio with Ruins and Porta Portello, Padua	c. 1750	Gallerie dell'Accademia, Venice, Italy
	Bacino di S. Marco- From the Piazzetta	c. 1750	National Gallery of Victoria, Australia
	Capriccio of the Scuola di San Marco from the Loggia of the Palazzo Grifalconi-Loredan	Early 1750s	Private collection
	Palazzo Vendramin-Calergi, on the Grand Canal, Venice	1750s	Private collection
	Canale Grande Rialtobruecke anagoria, Venice	1750s	Prussian Cultural Heritage Foundation
	Veduta del Palazzo Ducale di Venezia	1750s	Galleria degli Uffizi, Florence
	London: The Thames from Somerset House Terrace towards Westminster	1750–51	Royal Collection, Windsor Castle, England
	London: The Thames from Somerset House Terrace towards the City	1750–51	Royal Collection, Windsor Castle, England
	Padua- The River Bacchiglione and the Porta Portello Day	1750-1760	Metropolitan Museum of Art, New York
	Chelsea from the Thames at Battersea Reach	1751	Blickling Hall, National Trust, Norfolk, England
	Alnwick Castle	1752	Alnwick Castle, Northumberland, England
	Greenwich Hospital from the North Bank of the Thames	c. 1752	National Maritime Museum, Greenwich, London, England
	Warwick Castle, the East Front	1752	Birmingham Museum and Art Gallery, Birmingham, England
	Warwick Castle, the East Front from the Courtyard	1752	Birmingham Museum and Art Gallery, Birmingham, England
	The Interior of Henry VII's Chapel in Westminster Abbey	1753	Museum of London, London, England
	Capriccio of a Renaissance Palazzo with a monumental Staircase, a Clock Tower and the Arch of Titus beyond	1753-55	Private collection Arundel Castle
	London: Northumberland House	1753–1763	Wallace Collection, London, England
	English Landscape Capriccio with a Column	1754	National Gallery of Art, Washington D.C., United States
	Capriccio with a Domed Church and the Colleoni Monument	probably 1754	Private collection
	English Landscape Capriccio with a Palace	1754	National Gallery of Art, Washington D.C., United States
	Venice, Bacino di San Marco on Ascension Day	1754	Privade Collection
	London: Interior of the Rotunda at Ranelagh	1754	National Gallery, London, England
	St. Paul's Cathedral	1754	Yale Center for British Art, New Haven, United States
	A View of Walton Bridge	1754	Dulwich Picture Gallery, London, England
	Eton College	1754	National Gallery, London, England
	Palazzo Ducale and the Piazza di San Marco	c. 1755	Galleria degli Uffizi, Florence
	Old Walton Bridge	1755	Yale Center for British Art, New Haven, United States
	San Marco - the Interior	1755	Windsor Castle
	Piazza San Marco - Looking South-West	1755-59	Wadsworth Atheneum Museum of Art, Connecticut, United States
	Saint Mark's, Venice	c. 1756	Fitzwilliam Museum, Cambridge, England
	Interior Court of the Doge's Palace, Venice	c. 1756	Fitzwilliam Museum, Cambridge, England
	Piazza San Marco - Looking East from the South West Corner	1756	National Gallery, London, England
	Venice: Palazzo Grimani	1756–58	National Gallery, London, England
	Piazza San Marco Looking East from the North-West Corner	1758	National Gallery, London, England
	Le grand canal (Gemäldegalerie, Berlin)	1758-63
	The Campo di Rialto	1758-63	Gemäldegalerie der Staatlichen Museen zu Berlin
	The Campo di Rialto and S. Giacomo di Rialto, Venice	1760	National Gallery of Canada, Ottawa, Canada
	The Bucintoro at the Molo on Ascension Day	1760	Dulwich Picture Gallery, London, England
	Porta Portello, Padua	1760	Thyssen-Bornemisza Museum, Madrid, Spain
	The Bucintoro at the Molo on Ascension Day	1760	Dulwich Picture Gallery, London, England
	Doge of Venice Departing for the Lido	1763-67	British Museum, London
	Santa Maria Zobenigo	c. 1765	Private Collection
	Perspective with a Portico	1765	Gallerie dell'Accademia, Venice, Italy
	Capriccio with Colonnade in the Interior of a Palace	1765	Thyssen-Bornemisza Museum, Madrid, Spain
	The School of San Marco	1765	Thyssen-Bornemisza Museum, Madrid, Spain
	San Marco - the Crossing and North Transept, with Musicians Singing	1766	Kunsthalle Hamburg, Germany
	San Marco - the Crossing and North Transept, with Musicians Singing	before 1768	Fondation Bemberg, France
	View of the Equestrian Statue of Bartolomeo Colleoni	before 1768	Private collection
	Vue de Dolo Bemberg	before 1768	Fondation Bemberg, France
	Teilansicht der Piazza San Marco in Venedig	1768
	The Square and the church San Francesco della Vigna	?	Private collection, Milan

See also

• Bernardo Bellotto, also known as "Canaletto" in Germany and Poland, was Canaletto's nephew and pupil

External links

• 132 artworks by or after Canaletto at the Art UK site
• Web Gallery of Art
• The Canaletto Foundation More than 335 images of Canaletto's paintings.
• Canaletto and the history of vedute
• Canaletto, a full text exhibition catalog from The Metropolitan Museum of Art