Capricho arquitectonico,博物馆de瓶装水Artes de毕尔巴鄂
1769年,画家和他的儿子洛伦佐(1744 - 1770)完成另一个大型皇家委员会——十四的罗马,古代和教皇,根据收集的蚀刻画Giovanni Battista皮拉内西名为Vedute di罗马。收集分散在19世纪早期,今天可以欣赏各种油画在不同的博物馆在俄罗斯——罗马论坛从国会大厦到东南亚和Piazza della罗通达与万神殿(在莫斯科美术博物馆),佛的高尔基(国家博物馆),对美国玛丽亚马焦雷(艺术博物馆在哈巴罗夫斯克)和私人收藏。
艺术家的工作是评估的最后时期完全不同的早期强调直接的观察,争取一个通用staffage治疗，能够捕获的气氛的地方和可见的转换他的绘画与温暖的吨变得更加多彩。他还首次进行了历史学科的斯坦尼斯洛斯奥古斯都(1778)包括选举国王和Jerzy Ossoliński进入1633年罗马(1779)委托进行的约瑟夫Maksymilian Ossoliński.Bellotto创建了一个学校的绘画后来继续和发展Zygmunt沃格尔和戈扎尔斯基.
他的弟弟名叫Pietro Bellotto(1725 - c。1805)和与卡纳莱托和他的兄弟合作后,搬到法国,在那里他被称为le Sieur Canalety和di Pietro征求Caneletty。哥哥也被称为Belloti,Belloty,Beloty或Bellottit。
Bellotto was born in Venice, the son of Lorenzo Antonio Bellotto and Fiorenza Canal, sister of the famous Canaletto, and studied in his uncle's workshop.
In 1742 he moved to Rome, where he producedvedute of that city. In 1744 and 1745 he traveled northern Italy, again depictingvedute of each city. Among others, he worked for Charles Emmanuel III of Savoy.
From 1747 to 1758 he moved to Dresden, following an invitation from King August III of Poland. He created paintings of the cities Dresden and Pirna and their surroundings.Today these paintings preserve a memory of Dresden's former beauty, which was destroyed by bombing during World War II.
His international reputation grew, and in 1758 he accepted an invitation from Empress Maria Theresa to come to Vienna, where he painted views of the city's monuments.
In 1761 Bellotto left Vienna for Munich, where he spent almost a year. In a letter to her cousin Maria Antonia of Bavaria, Empress Maria Theresia had praised Bellotto's artistic achievements at the Viennese court. Logically, he was commissioned works by the ruling family of Bavaria. He painted a panoramic view of Munich and two vedute of Nymphenburg Palace for the elector of Bavaria.At the end of 1761, Bellotto returned to Dresden.
When King August III of Poland, also an Elector of Saxony, who usually lived in Dresden, died in 1763, Bellotto's work became less important in Dresden. As a consequence, he left Dresden to seek employment in Saint Petersburg at the court ofCatherine II of Russia. On his way to Saint Petersburg, however, Bellotto accepted an invitation in 1764 from Poland's newly elected King Stanislaus Augustus Poniatowski to become his court painter in Warsaw from 1768.
Here he remained some 16 years, for the rest of his life, as court painter to the King, for whom he painted numerous views of the Polish capital and its environs for the Royal Castle in Warsaw, complement of the great historical paintings commissioned by Poniatowski from Marcello Bacciarelli. His initial commissions included painted decoration of the Ujazdów Castle between 1767-1770, of which a study of illusionistic vault is the only preserved example of profuse decoration lost in 1784 during the reconstruction of the castle into military barracks.
In 1769 the painter and his son Lorenzo (1744-1770) accomplished another large royal commission - fourteen views of Rome, ancient and papal, based on the collection of etchings by Giovanni Battista Piranesi entitled Vedute di Roma. The collection was dispersed in the early nineteenth century and today various paintings can be admired in different museums in Russia - The Roman Forum as seen from the Capitol to the south-east and Piazza della Rotonda with Pantheon (Museum of Fine Arts in Moscow), View of the Piazza Navona (State Museum in Gorky), View of S. Maria Maggiore (Museum of Art in Khabarovsk) and in private collections.
His paintings of Warsaw, 26 vedute painted between 1770-80 to embellish the so-called Panorama Room (later Canaletto Room) at the Royal Castle in Warsaw and later relocated to Russia, were restored to the Polish Government in 1921 and were used in rebuilding the city after its near-complete destruction by German troops during World War II.
Bellotto's early work bears strong features of his uncle's style, becoming more individual and distinguished in later years with clear inspiration of Dutch landscape painting with massed clouds, cast shadows and rich foliage. His colouring is colder and characterized by a steely grey.
The last period of the artist's work is assessed as distinct from the earlier stages with emphasis on the immediacy of observation, striving for a generic treatment of staffage, ability to capture the atmosphere of the place and visible transformation of his painting which become more colorful with warmer tons. For the first time he also undertook historical subjects including Election of Stanislaus Augustus (1778) for the King and Entry of Jerzy Ossoliński into Rome in 1633 (1779) commissioned by Józef Maksymilian Ossoliński. Bellotto created a school of painting which was later continued and developed by Zygmunt Vogel and Marcin Zaleski.
Bernardo Bellotto died in Warsaw in 1780 and was buried in Capuchin Church at Miodowa Street.
His younger brother was named Pietro Bellotto (1725 -c. 1805) and after collaborating with Canaletto and his brother, moved to France, where he was known as le Sieur Canalety and Pietro Bellotti di Caneletty. The brother was also referred to as Belloti, Belloty, Beloty, or Bellottit.