Views of Venice Book of Postcards
The stunning lagoon city of Venice has long attracted painters and printmakers seeking to capture her brilliant architecture and limpid light. Canaletto was the most renowned among the view painters of Venice in the eighteenth century, but other artists also were in great demand, including Canaletto’s nephew Bernardo Bellotto, his rival Francesco Guardi, and his follower Antonio Joli. These and other painters satisfied the market for images that reminded visitors of their experience abroad after their return home.
While in Venice on the Grand Tour, travelers marveled at the religious, political, and social center of the city, the Basilica of San Marco and its adjacent piazza, one of the most striking architectural ensembles in Europe. Visitors also admired the Gothic and Renaissance palaces that lined the Grand Canal, the numerous opulent churches, and the famous Rialto Bridge. Tourists often brought back souvenirs, including sculptures, prints and drawings, books, and particularly view paintings of these familiar and storied sights.
After the fall of Venice to the French in 1797, foreign artists dominated the market in views of the former republic. Richard Parkes Bonington was among the British artists to represent Venice in the early nineteenth century, followed by the more prolific painter and watercolorist Joseph Mallord William Turner. Turner, who visited Venice three times during his life, moved his attention away from the topographical focus of eighteenth-century view painters to the creation of dazzling effects of light and atmosphere. French writers and artists also discovered the charms of the picturesque city. Stendhal wrote admiringly of the city, perhaps providing the inspiration for the Venetian works of Jules-Romain Joyant, the self-styled “French Canaletto.” Later, Claude Monet’s only trip to Venice in 1908 produced important modernist works of major sites. Among other European artists, German painters deserve particular attention for capturing the spell of the enchanting city.
After the Civil War, Americans began to visit Venice, Rome, and Florence in large numbers. James McNeill Whistler and John Singer Sargent were among the most significant American artists to depict Venice in the later nineteenth century. In contrast to contemporary British and French painters, they sought to capture the local inhabitants’ experience. Although Whistler and Sargent sometimes rendered the monumental and well-known attractions of the city, they also emphasized a Venice of the Venetians, depicting the narrow alleys, minor squares, and deserted canals that were an integral part of everyday life.
- Antonio Joli (Italian, c. 1700–1777), Procession in the Courtyard of the Ducal Palace, Venice, 1742 or after
- James McNeill Whistler (American, 1834–1903), Nocturne, 1879/1880
- William Stanley Haseltine (American, 1835–1900), Shipping Along the Molo in Venice, unknown date
- Antonio Joli (Italian, c. 1700–1777), Procession of Gondolas in the Bacino di San Marco, Venice, 1742 or after
- Canaletto (Italian, 1697–1768), The Maundy Thursday Festival Before the Ducal Palace in Venice, c. 1765
- Bernardo Bellotto (Italian, 1722–1780), The Campo di SS. Giovanni e Paolo, Venice, 1743/1747
- John Singer Sargent (American, 1856–1925), Street in Venice, 1882
- Edward Lear (British, 1812–1888), Venetian Fantasy with Santa Maria della Salute and the Dogana on an Island
- Rudolf von Alt (Austrian, 1812–1905), The Piazza San Marco, 1874
- Francesco Guardi (Italian, 1712–1793), View on the Cannaregio Canal, Venice, c. 1775–1780
- Giovanni Domenico Tiepolo (Italian, 1727–1804), Punchinello’s Farewell to Venice, 1797/1804
- John Singer Sargent (American, 1856–1925), Gondola Moorings on the Grand Canal
- Canaletto (Italian, 1697–1768), The Square of Saint Mark’s, Venice, 1742/1744
- Ludwig Johann Passini (German, 1832–1903), Monks Buying Fish before the Portal of the Madonna della Misericordia, 1855
- Joseph Mallord William Turner (British, 1775–1851), The Dogana and Santa Maria della Salute, Venice, 1843
- Canaletto (Italian, 1697–1768), A Venetian Courtyard, in the Procuratie Nuove, c. 1760
- Jules-Romain Joyant (French, 1803–1854), The Church of Santo Trovaso, Venice, c. 1830
- Joseph Mallord William Turner (British, 1775–1851), Venice: The Dogana and San Giorgio Maggiore, 1834
- Francesco Guardi (Italian, 1712–1793), Temporary Tribune in the Campo San Zanipolo, Venice, 1782 or after
- Richard Parkes Bonington (British, 1802–1828), The Grand Canal, 1826/1827
- James McBey (Scottish, 1883–1959), Palazzo dei Cammerlenghi, 1925
- Jules-Romain Joyant (French, 1803–1854), The Scuola di San Marco, Venice, c. 1830
- Joseph Mallord William Turner (British, 1775–1851), Approach to Venice, 1844
- Claude Monet (French, 1840–1926), Palazzo da Mula, Venice, 1908
- Maurice Brazil Prendergast (American, 1858–1924), The Piazza San Marco, 1898
- John Singer Sargent (American, 1856–1925), A Bridge and Campanile, Venice
- Eugene Lawrence Vail (American, 1857–1934), The Flags, Saint Mark’s, Venice–Fête Day, c. 1903
- Francesco Guardi (Italian, 1712–1793), Grand Canal with the Rialto Bridge, Venice, probably c. 1780
- Carl Friedrich Heinrich Werner (German, 1808–1894), The Portal of the Madonna della Misericordia from the Canal, 1844
- Canaletto (Italian, 1697–1768), Entrance to the Grand Canal from the Molo, Venice, 1742/1744
Pomegranate’s books of postcards contain up to thirty top-quality reproductions bound together in a handy, artful collection. Easy to remove and produced on heavy card stock, these stunning postcards are a delight to the sender and receiver. Postcards are oversized and may require additional postage.