THE ARTISTS: Giovanni Antonio Canal - Canaletto |
1697 |
He was born in Venice on October 28 from Bernardo, scenographer, and Artemisia Barbieri. |
1716 |
He collaborated with his father and elder brother Cristoforo to the scenographies of some dramas for the Sant'Angelo theatre in Venice. |
1717 |
He worked in Venice with his father and brother for the Sant'Angelo theatre; later the Canals moved to San Cassiano. |
1718 |
More works for the San Cassiano theatre. |
1719 |
Together with his father he moved to Rome, where he was appointed to prepare two plays by Alessandro Scarlatti for the Capranica theatre. |
1720 |
He returned to Venice; his name was visible for the first time in the Fringe of the local painters. |
1721 Date of birth of Madame de Pompadour |
1725 |
The correspondence Marchesini Conti dates back to this year and to the following one; it regards the commission to Canaletto of four views. |
1726 |
A letter regarding the paintings with allegorical tombs by Owen McSwiney to the duke of Richmond is dated March 8. In this year his collaboration with Joseph Smith probably began. |
1727 |
In November McSwiney sent to the duke of Richmond two views on copper plate by Canaletto. |
1729 |
This is the post quem term for the canvas made for the earl Giuseppe Bolagnos, imperial ambassador to the Republic of Venice. |
1730 |
Owen McSwiney wrote to John Conduit, complaining about Canalettos greed. |
1735 |
First edition of Prospectus Magni Canalis Venetiarum with the fourteen engravings by Antonio Vicentini taken by the same views by Canaletto. |
1740 |
About this time he made a journey to Padua, along the Brenta river, together with his nephew Bernardo Bellotto. |
1742 |
Second edition of Prospectus Magni Canalis Venetiarum. From this year to 1744 he carried out thirteen door-arches, which Joseph Smith commissioned for its villa in Mogliano. |
1744 |
His father Bernardo died. The collection of engravings dedicated to the consul Smith was published with the title Vedute Altre prese da i luoghi altre ideate, which Antonio had been working on since 1741. |
1745 The arrival of Madame de Pompadour at the court |
1746 |
In May he arrived in London. |
1747 |
First commissions from Sir Hugh Smithson. |
1748 |
During this and the following years he received some payments by Lord Brooke. |
1749 |
He made an advertisement published in the "Daily Advertiser", in which he invited the Londons art lovers to go to his study in Silver Street and to verify his painting skills against all those who tried to discredit him. |
1750 |
He returned to Venice, where he stayed foe eight months. In August 1751 he was certainly back to London. |
1751 |
Second advertisement in the "Daily Advertiser". |
1753 |
On July 28 he moved to Venice for a short time again. |
1755 |
Finally he left London to settle in Venice. |
1763 |
He entered the Venetian Academy of painting and sculpture as "perspective expert". |
1764 The death of Madame de Pompadour |
1765 |
He gave to the Academy of Venice his "pièce de réception". |
1767 |
On August 23 his last presence to the meetings of the Venetian Academy. |
1768 |
On April 18, after a long illness, he died in Venice in his house of corte Perina and was buried in the near church of San Lio. |
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