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The Met 365|00:Piazza San Marco
(来源：https://www.metmuseum.org/art/collection/search/435839?searchField=All&sortBy=relevance&ft=Piazza+San+Marco&offset=0&rpp=20&pos=1)
Piazza San Marco
Artist: Canaletto(Giovanni Antonio Canal)(Italian, Venice 1697–1768)
Date: late 1720s
Dimentions: Oil on canvas
Department
Artist / Maker / Culture
Canaletto (Giovanni Antonio Canal)
Object Type / Material
Geographic Location
Date / Era
The most celebrated view painter of eighteenth-century Venice, Canaletto was particularly popular with British visitors to the city. This wonderfully fresh and well-preserved canvas shows Piazza San Marco. The windows of the bell tower are fewer in number than in actuality, and the flagstaffs are too tall, but otherwise Canaletto took few liberties with the topography.
作为18世纪最著名的威尼斯风景画家，卡纳莱托在来到这座城市的英国游客中尤其知名。这幅清新且保存完好的布面画作展示了圣马可广场。钟塔的窗户数量比实际的少，旗杆也过高，此外卡纳莱托严格的遵守了地形学。
Piazza San Marco, the principal square of Venice, was a subject Canaletto painted at least a dozen times in the 1720s and 1730s (Fahy 2005, pp. 59–60). The basilica of Saint Mark’s, built and rebuilt over three centuries beginning in the year 830, stands at the east end of the square. To the right rises the Campanile, begun in the ninth century and rebuilt after it collapsed in 1902. Farther to the right is a glimpse of the Doges’ Palace. The long building on the left, running along the north side of the square, is the Procuratie Vecchie, erected in 1514, which served as the residence for the nine Procurators of San Marco, the chief magistrates of the Republic of Venice. Facing it, on the south side of the square, is the Procuratie Nuove, built between 1580 and 1640 by Palladio’s pupil Vincenzo Scamozzi (1552–1616).
圣马可广场是威尼斯的主要广场，在17世纪20年代到30年代间，卡纳莱托将其作为主题画了大量的画作。广场东部的圣马可教堂的修建从830年开始跨越了3个世纪。右侧的钟楼始建于9世纪，在1902年倒塌后重建。右侧更远处可以看到公爵宫。左侧沿着广场北侧的长建筑是建于1514年的老行政宫，它曾经是威尼斯共和国9位大检察官的公馆。它对面的广场南部是新行政官邸，由帕拉第奥的学生斯卡默基建于1580至1640年。
Canaletto's vantage point for this bird's-eye view was a window on an upper floor of the Procuratie Vecchie, slightly to the north of the center line of the piazza, where the Procuratie abutted San Geminiano, the small church that was demolished in 1807 to make way for the Napoleonic wing of the Palazzo Reale. A virtually identical view appears in Le fabriche, e vedute di Venetia(The Met,57.618), an album of 104 etchings by Luca Carlevaris (1663–1730), which was published in 1703. While the foreshortening of the architecture is the same in both scenes, the cast shadows in the etching indicate early morning.
卡纳莱托这种鸟瞰视角的观测点是在旧行政宫的高层，在广场中心线的偏北边——行政宫与圣杰米诺教堂的连接处，这间小教堂在1807年为给拿破仑宫殿的翅膀让路而被拆除。一个几乎相同的视角出现在Luca Carlevaris1703年的画作《Le fabriche, e vedute di Venetia》中。
This painting dates from the late 1720s. Its crisp style and blond tonality followed the ominous atmosphere of Canaletto’s large view now in the Museo Thyssen-Bornemisza, Madrid, which can be dated precisely because it shows the piazza only partly covered with the stone paving that was laid between 1725 and 1727. In the MMA picture, the pavement, with its white geometric pattern, is complete. It thus predates views of the piazza in the series of twenty-four Canalettos in the collection of the Duke of Bedford at Woburn Abbey, of the mid-1730s, as well as those in the set of eight canvases in the Fitzwilliam collection at Milton Park. Unlike most of Canaletto’s views of the piazza, the MMA painting does not seem to have had a pendant or to have formed part of a series.
这幅画作的时间大约是17世纪20年代末期。它的清晰风格和淡黄色调延续了现藏于蒂森博物馆的卡纳瓦罗另一幅大型画作中的不祥气息。
