Overview

No overview.

Inscription

null

Marks and Labels

null

Provenance

L.T.N. Gould, Suffolk; sold 1943 to (P & D Colnaghi & Co., London); sold later that year to Francis F. Madan, London, as by Bellotto;[1] (his sale, Christie, Manson & Woods, London, 15 July 1955, no. 88, as by Canaletto); purchased by H. Cevat;[2] (David M. Koetser Gallery, New York, London, and Zurich); purchased 1957 by the Samuel H. Kress Foundation, New York; gift 1961 to NGA.

Exhibition History

1954
European Masters of the Eighteenth Century, Royal Academy of Arts, London, 1954-1955, no. 4.
1961
Exhibition of Art Treasures for America from the Samuel H. Kress Collection, National Gallery of Art, Washington, D.C., 1961-1962, no. 14.
1989
Canaletto, The Metropolitan Museum of Art, New York, 1989-1990, no. 57.
1996
Obras Maestras de la National Gallery of Art de Washington, Museo Nacional de Antropología, Mexico City, 1996-1997, unnumbered catalogue, 76-77, color repro.
1999
Masterpieces from the National Gallery of Art, Washington, Kyoto Municipal Museum of Art; Tokyo Metropolitan Art Museum, 1999, no. 84, repro.

Bibliography

1948
Parker, Karl T. The Drawings of Antonio Canaletto in the Collection of His Majesty the King at Windsor Castle. London, 1948: 46, as by Bellotto.
1960
Pallucchini 1960, 107, fig. 280.
1961
Emerson, Guy. "The Kress Collection: A Gift to the Nation." National Geographic Magazine 20 (December 1961): 824-826, color repro.
1961
Seymour 1961 (Kress), 165, repro. pl. 161, color repro. pl. 162
1962
Constable, William George. Canaletto: Giovanni Antonio Canal, 1697-1768. 2 vols. Oxford, 1962: 1:pl. 69; 2:356-357, no. 375.
1963
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 318, repro., as The Portello and the Brenta Canal at Padua.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 22, as The Portello and the Brenta Canal at Padua.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 15, repro., as The Portello and the Brenta Canal at Padua.
1968
Puppi, Lionello. The Complete Paintings of Canaletto. Milan, 1968, 108, repro., no. 209A.
1972
Fredericksen and Zeri 1972, 43.
1972
Kozakiewicz, Stefan. Bernardo Bellotto. Translated by Mary Whittall. 2 vols. Greenwich, Connecticut, 1972: 2:459, no. Z 303.
1973
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XVI-XVIII Century. London, 1973: 162, fig. 313, 314.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 52, repro., as The Portello and the Brento Canal at Padua.
1976
Constable and Links 1976, 1:pl. 69; 2:383, 547, no. 375.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: I:103-105, II:pl. 68, as The Portell and the Brento Canal at Padua.
1982
Links, J. G. Canaletto. Oxford, 1982: III, color pl. 101
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 346, no. 480, color repro., as The Portello and the Brenta Canal at Padua.
1985
Corboz, André. Canaletto: Una Venezia immaginaria. Catalogue compiled by Anna Tortorelo. 2 vols. Milan, 1985: 2:652, repro., no. P 317.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 73, repro., as The Portello and the Brenta Canal at Padua.
1989
Baetjer, Katharine, and J. G. Links. Canaletto. Exh. cat. Metropolitan Museum of Art, New York, 1989: 206-207, no. 57.
1989
Constable, W. G. Canaletto: Giovanni Antonio Canal, 1697-1768. 2nd edition revised by J. G. Links, reissued with supplement and additional plates. 2 vols. Oxford, 1989: 1:pl. 69; 2:383, 547, no. 375.
1996
De Grazia, Diane, and Eric Garberson, with Edgar Peters Bowron, Peter M. Lukehart, and Mitchell Merling. Italian Paintings of the Seventeenth and Eighteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 31-35, color repro. 33.
1999
Zuffi, Stefano and Francesca Castira, La peinture baroque. Translated from Italian by Silvia Bonucci and Claude Sophie Mazéas. Paris, 1999: 352, color repro.
2004
Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 236-237, no. 186, color repro.

Conservation Notes

The support is a plain-weave fabric of medium-fine weight. The tacking margins were removed during relining. The ground is light gray and is visible in small areas in the middle foreground. The ground beneath the sky, however, is a light pink-brown color and is visible through the paint surface where the overlying paint layer is thinly applied. This colored ground influences the overall hue of the lighter sky, although it is not clear whether the gray layer is applied over the entire support beneath the pink-brown layer, which is not discernible in the lower half of the painting. The paint is applied fluidly and the handling is characteristic of the artist at this date. Low impasto is found in some of the highlights and details; the sky is painted more rapidly and thinly with delicate brushstrokes that reveal the underlying ground through striations in the surface layer. The paint is applied primarily wet-into-wet, although details such as the ripples of the water and the figures have been applied with liquid strokes over the dry underlying surface paint. The tile roofs of the buildings are textured with small drops of paint. The reflections of the buildings in the water are painted wet-in-wet. X-radiographs indicate that the left edge of the Porta Portello in the center of the composition has been shifted slightly.

There is an area of considerable loss in the center of the composition measuring approximately 15.2 x 15.2 cm. Discolored varnish was removed and the painting restored by David Bull in 1993.

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