Francesco Tironi (venice, C. 1745–1797), View Of Venice With The Entrance To Cannaregio
Artist: Francesco Tironi (venise, Vers 1745 - 1797)
Francesco Tironi (Venice, c. 1745–1797)
View of Venice with the Entrance to Cannaregio
oil on canvas
59 x 75 cm.
with frame 72 x 88 cm.
Work accompanied by a descriptive note by Prof. E. Negro
The painting, tentatively dated to the ninth decade of the 18th century, is attributed to the Venetian landscape painter Francesco Tironi (Venice, 1745–1797), and serves as a demonstration of the artist’s expressive talents during the mature phase of his career.
It is a view of Venice, capturing a glimpse of the city with several palaces, two churches, and two bell towers, seen at the mouth of the Cannaregio Canal: The canvas thus depicts a picturesque corner of the lagoon featuring a gondola and boats either sailing or at anchor along that stretch of the city’s famous waterway, populated by numerous figures of merchants, sailors, and commoners.
Both the architectural features of the buildings and the gently rippling waves of the lagoon have been rendered with a restrained simplicity compared to reality. Furthermore, the landscape composition is appropriately set against a backdrop characterized by a vast expanse of sky streaked with white clouds.
In the 18th century, Venice experienced a second “golden age” in the arts and culture. The Venetian veduta became a highly successful genre of painting, satisfying the demands of patrician families and nobles—especially English and German, but also French—who visited the city during their “Voyage d’Italie” (Venice, Florence, Rome, Naples), and by those who, though they had never been to Venice, wished to decorate their homes with views of the Serenissima.
Alongside Antonio Canal “Canaletto” (1697–1768), the leading figure of landscape painting, a large number of artists active in the lagoon city made this period in painting truly extraordinary. Among them, we should mention Luca Carvelarijs, the Guardi family—Francesco and his son Giacomo—Michele Marieschi, and, of course, Francesco Tironi, to whom the painting in question is attributed.
Our attribution is supported by a comparison with the painter’s authentic works, due to the similar way the scenes are composed, the shared tendency in the rendering of perspective, the attention to detail in the meticulously drawn architecture, the pronounced interplay of light and shadow, and the numerous Canaletto-style figures that enliven the scene in the square.
Tironi is characterized by a rather eclectic style, which originally blends elements drawn from Canaletto or Marieschi (in the style of the “macchiette” and the compositional structure of the cityscapes), with clear influences from Guarda (in the concise rendering of architectural elements, defined with fluidity).
Regarding our View of Venice at the mouth of the Cannaregio Canal, there are numerous similarities with other compositional works by Tironi; thus, to confirm the proposed attribution, it suffices to compare it with some of the Venetian master’s drawings (for example, the View of the Island of Mazzorbo and the View of the Islands of Murano, S. Michele, and S. Cristoforo, both in New York in the Robert Lehman Collection), as well as with the paintings depicting the View of the Grand Canal with the Rialto Bridge (Ajaccio, Musée Fesch), the “View of the Brenta River” (Genoa, Cambi Casa d’Aste, December 16, 2021, no. 211), and the pair of views of St. Mark’s Square and the Island of St. George (Genoa, Wannenes, March 5, 2020, no. 773).
These works, in fact, display clear stylistic analogies and similar perspectival innovations also found in our scene, namely a distinctive revival of early 18th-century landscape painting aimed at transcending and simplifying the last vestiges of the Baroque, and a clear orientation toward more subdued figurative solutions, inspired by genuinely Venetian models in architectural design: recurring characteristics in the rewarding works of Francesco Tironi.
The landscape painting, in excellent condition, is mounted on a stretcher and enhanced by a beautiful antique gilded and lacquered frame.
ADDITIONAL INFORMATION:
The work is sold with a certificate of authenticity and a descriptive iconographic sheet.
We arrange and organize the shipping of purchased works, both within Italy and internationally, through professional and insured carriers. It is also possible to view the painting at our gallery in Riva del Garda; we would be delighted to welcome you and show you our collection of works.
Please feel free to contact us, with no obligation, for any additional information.
Follow us on:
INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it
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View of Venice with the Entrance to Cannaregio
oil on canvas
59 x 75 cm.
with frame 72 x 88 cm.
Work accompanied by a descriptive note by Prof. E. Negro
The painting, tentatively dated to the ninth decade of the 18th century, is attributed to the Venetian landscape painter Francesco Tironi (Venice, 1745–1797), and serves as a demonstration of the artist’s expressive talents during the mature phase of his career.
It is a view of Venice, capturing a glimpse of the city with several palaces, two churches, and two bell towers, seen at the mouth of the Cannaregio Canal: The canvas thus depicts a picturesque corner of the lagoon featuring a gondola and boats either sailing or at anchor along that stretch of the city’s famous waterway, populated by numerous figures of merchants, sailors, and commoners.
Both the architectural features of the buildings and the gently rippling waves of the lagoon have been rendered with a restrained simplicity compared to reality. Furthermore, the landscape composition is appropriately set against a backdrop characterized by a vast expanse of sky streaked with white clouds.
In the 18th century, Venice experienced a second “golden age” in the arts and culture. The Venetian veduta became a highly successful genre of painting, satisfying the demands of patrician families and nobles—especially English and German, but also French—who visited the city during their “Voyage d’Italie” (Venice, Florence, Rome, Naples), and by those who, though they had never been to Venice, wished to decorate their homes with views of the Serenissima.
Alongside Antonio Canal “Canaletto” (1697–1768), the leading figure of landscape painting, a large number of artists active in the lagoon city made this period in painting truly extraordinary. Among them, we should mention Luca Carvelarijs, the Guardi family—Francesco and his son Giacomo—Michele Marieschi, and, of course, Francesco Tironi, to whom the painting in question is attributed.
Our attribution is supported by a comparison with the painter’s authentic works, due to the similar way the scenes are composed, the shared tendency in the rendering of perspective, the attention to detail in the meticulously drawn architecture, the pronounced interplay of light and shadow, and the numerous Canaletto-style figures that enliven the scene in the square.
Tironi is characterized by a rather eclectic style, which originally blends elements drawn from Canaletto or Marieschi (in the style of the “macchiette” and the compositional structure of the cityscapes), with clear influences from Guarda (in the concise rendering of architectural elements, defined with fluidity).
Regarding our View of Venice at the mouth of the Cannaregio Canal, there are numerous similarities with other compositional works by Tironi; thus, to confirm the proposed attribution, it suffices to compare it with some of the Venetian master’s drawings (for example, the View of the Island of Mazzorbo and the View of the Islands of Murano, S. Michele, and S. Cristoforo, both in New York in the Robert Lehman Collection), as well as with the paintings depicting the View of the Grand Canal with the Rialto Bridge (Ajaccio, Musée Fesch), the “View of the Brenta River” (Genoa, Cambi Casa d’Aste, December 16, 2021, no. 211), and the pair of views of St. Mark’s Square and the Island of St. George (Genoa, Wannenes, March 5, 2020, no. 773).
These works, in fact, display clear stylistic analogies and similar perspectival innovations also found in our scene, namely a distinctive revival of early 18th-century landscape painting aimed at transcending and simplifying the last vestiges of the Baroque, and a clear orientation toward more subdued figurative solutions, inspired by genuinely Venetian models in architectural design: recurring characteristics in the rewarding works of Francesco Tironi.
The landscape painting, in excellent condition, is mounted on a stretcher and enhanced by a beautiful antique gilded and lacquered frame.
ADDITIONAL INFORMATION:
The work is sold with a certificate of authenticity and a descriptive iconographic sheet.
We arrange and organize the shipping of purchased works, both within Italy and internationally, through professional and insured carriers. It is also possible to view the painting at our gallery in Riva del Garda; we would be delighted to welcome you and show you our collection of works.
Please feel free to contact us, with no obligation, for any additional information.
Follow us on:
INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it
FACEBOOK https://www.facebook.com/galleriacastelbarco/
9 500 €
Period: 18th century
Style: Louis 16th, Directory
Condition: Excellent condition
Material: Oil painting
Width: encadré 88 cm.
Height: encadré 72 cm.
Reference (ID): 1821663
Availability: In stock
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