职业生涯早期

他出生在威尼斯画家的儿子贝尔纳多管,因此他mononym卡纳莱托(“小运河”),和艾巴比里。 卡纳莱托完成了他的学徒生涯与他的父亲和他的兄弟。他开始在他的父亲的职业,戏剧场景的画家。卡纳莱托的灵感来自于罗马vedutista乔凡尼保罗Pannini,开始画这个城市和人民的日常生活。

1719年从罗马回来后,他在地形开始绘画风格。 他第一次知道签署和日期的工作是建筑狂想曲(1723年,米兰,在私人收藏)。 学习与老卢卡Carlevarijsmoderately-talented画家的城市城市风光, 他迅速成为主人的平等。

1725年,画家亚历山德罗Marchesini,他也是Lucchese艺术品收藏家的买家斯特凡诺孔蒂,询问购买两个威尼斯的观点,当代理劝他考虑相反的工作“安东尼奥Canale…这就像Carlevaris,但是你可以看到阳光。” 

户外绘画

卡纳莱托的早期作品是“自然”,不同于当时的惯例完成绘画的工作室。他后来的一些作品做回归这个习俗,倾向于遥远的数字所显示涂颜色的斑点——产生的使用产生影响暗箱,模糊了更远的对象。

然而,他的作品总是引人注目的准确性:他记录了季节性威尼斯淹没在水和冰。 

早期和晚期的作品

卡纳莱托的早期作品仍是他最梦寐以求的,根据许多当局,他最好的。他的早期作品之一石匠的院子(1729年,伦敦国家美术馆),描绘了一个卑微的工作区域。

后来卡纳莱托画的威尼斯的运河和宏大的场景总督宫。他大规模的风景描绘城市的华丽和减弱传统,创新利用大气影响和强大当地的颜色。这些品质,他的作品可能预期印象主义.

他的图形打印。在德拉Pra Giustina淡水河谷被发现的2012年纳粹掠夺的发现. 

在英国工作

他的许多照片都是卖给英国人的游,通常通过商人的机构约瑟夫史密斯(后来被任命为英国领事在威尼斯在1744年)。

史密斯曾担任卡纳莱托的代理,首先在要求绘画的威尼斯画家在1720年代早期,帮助他把他的画卖给其他英国人。 

在1740年代,卡纳莱托的市场时中断奥地利王位继承战争导致英国游客的数量减少到威尼斯。 史密斯还安排了一系列的出版铜版画的“capricci”(或建筑空想)(任性意大利高档)veduteideale,但没有足够高的回报,卡纳莱托在1746年搬到伦敦,更接近他的市场。 

他仍然在英国直到1755年,伦敦生产的观点(包括几个新威斯敏斯特桥期间完成),他的顾客的城堡和房屋。他1754年的绘画老沃尔顿桥包括卡纳莱托自己的形象。

他经常将油漆英格兰他画他的家乡城市的时尚。卡纳莱托的画开始遭受重复,失去流动性,成为机械,英国术评论家乔治Vertue表明这个人画的名字“卡纳莱托”是一个骗子。历史学家迈克尔·利维描述他的工作从这一时期“抑制”。

艺术家绘画被迫给公众示威为了反驳这一说法,但是,他的名声在他有生之年从未完全恢复。

回到威尼斯之后,卡纳莱托的当选威尼斯的学院1763年,任命之前的Collegio一些Pittori。他继续画,直到1768年去世。晚年他经常工作从旧的草图,但他有时会产生令人惊讶的新作品。他愿意让艺术效果微妙的后续地形。

市场

他的学生包括他的侄子Bernardo Bellotto,弗朗西斯科•瓜尔迪,米歇尔Marieschi,Gabriele贝拉,朱塞佩·莫雷蒂。画家,朱塞佩•贝纳迪诺野牛是他风格的追随者。

约瑟夫·史密斯出售他的收藏乔治三世,创造了大量的大量的卡纳莱托的作品所拥有的皇家收藏。1762年,乔治三世了£20000领事史密斯收集的绘画和142图纸。有很多的例子在其他英国收藏他的作品,包括若干(19)华莱士收藏馆和一组24在餐厅沃本修道院。大量的卡纳莱托的作品也集合的一部分伯爵的卡莱尔然而,许多人失去了在1940年的火灾城堡霍华德和其他人都卖的在上个世纪。那些以前在卡莱尔收集“Bacino di圣马可:向东”,现在在美术博物馆,波士顿(1939年出售)和一对”入口‘大运河的莫洛,威尼斯”和“威尼斯圣马克广场,”,现在在国家美术馆的艺术1938年,华盛顿(出售)。最后重要的威尼斯veduta城堡霍华德Bernardo Bellotto的观点,“大运河从宫殿Foscari南”,这是2015年7月,索斯比拍卖行拍卖£260万年。

卡纳莱托的观点总是卖高价,早在18世纪凯瑟琳大帝和其他的欧洲君主们争夺他的最伟大的绘画。卡纳莱托的创纪录的拍卖价格£1860万年视图的大运河宫殿Balbi里亚尔托桥的,设置在索斯比拍卖行2005年7月在伦敦。

Early career

He was born in Venice as the son of the painterBernardo Canal, hence his mononymCanaletto ("little Canal"), and Artemisia Barbieri.^[5] 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 moderately-talented 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 produced by using a camera obscura, which blurs farther-away objects.

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

Early and late work

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(1729, London, the National Gallery) which depicts a humble working area of the city.

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 colors. For these qualities, his works may be said to have anticipatedImpressionism.

His graphic print S.A Giustina in Prà della Vale was found in the 2012 Nazi loot discovery.

Work in England

Many of his pictures were sold to Englishmen on their Grand Tour, often through the agency of the merchant Joseph Smith (who was later appointed British Consul in Venice in 1744).

It was Smith who acted as an agent for Canaletto, first in requesting paintings of Venice from the painter in the early 1720s and helping him to sell his paintings to other Englishmen.

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' castles and houses. 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. Historian Michael Levey described his work from this period as "inhibited".

The artist was compelled to give public painting demonstrations in order to refute this claim; 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 alternations to topography for artistic effect.

Market

His pupils 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 theWallace 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 venetianveduta 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 fromPalazzo Balbi to the Rialto, set at Sotheby's in London in July 2005.