San Marco

San Marco

The painting “Doge's Palace and Riva degli Schiavoni” by Luca Carlevaris is a broad sight of the Molo (jetty) from the Riva degli Schiavoni, Venice. The oil on canvas painting is supposed to be painted around 700 AD. The centre exposes to the jetty with its two stonework pillars, and carries on in the remoteness on the wide path of the Riva degli Schiavoni, that reclines in front of viewers in the forefront. In engraving as in canvas, Carlevaris achieved more than just an optical proof of the city memorials. He grasped the look of the Venice itself, much like a storyteller. While accomplishing this, Carlevaris founded the complete 18th century (Settecento) the graphic and iconographical standards of the cityscape or Venetian veduta.

Luca Carlevaris was a Mathematician as well as artist. He is a Venetian view painter who is best remembered for his series of large reception pieces. The Procession of the Earl of Manchester of 1707 is typical: it is composed like a school photograph with many small figures competing for attention. This vast work was not painted from life but was built up from fluent oil sketches whose bravura appealed to Canaletto (1697 - 1768). More influential in his own time was the series of 103 etchings (1703) which expanded the small number of stock Venetian views. These stimulated an interest in less familiar views of the city: a demand that was later met by Canaletto and Francesco Guardi. [1]

Venice was a preferred topic of view painters of Italy. Luca Carlevaris was the foremost painter to make this genre famous by his illustrations and paintings. Carlevaris lived on north-eastern Italy area called Udine. His preference for architecture and painting was expected derived from his father's work as a designer and painter. His engravings and paintings often included significant memorials of the theme city.

A conviction in the superiority of art of Italy governed the experience of painters of Europe till the 20th century. In the culture of Italy the illustrative arts has a vital part. Italians have chiefly supported its painters, and gathered Italian art. The religious world demanded unparalleled assets of altarpieces and wall paintings, tombs and mosaics, and complex networks of support were involved. Princely rulers, small states, and republics all saw the power of art to exalt their lineage or authority, while individuals used the splendor of a rich art collection to display wealth and status, or to create domestic joy and pleasure. Until the creation of the nation state (1861) Italy had no cultural unity, and local pride and patriotism, and the spirit of competition, played a large role in support and collecting, for celebrated painters grew to be symbols of the glorious history of city or state. The Italian tradition of support and collecting is distinguished by its wide and cultured sympathies; it has been relatively free of a desire to restrict or regiment the painter. [2]

Carlevaris's first recorded commission for a painting is dated 1704. Partly because of the patriotism associated ...