Canaletto - Venetian painter

Brilliant artist known for beautiful views of Venice

Giovanni Antonio Canal - Canaletto

The Venetian artist Giovanni Antonio Canal – better known as Canaletto – died on this day in 1768 in the apartment in Venice in which he had lived for most of his life.

He was 70 years old and according to art historian William George Constable he had been suffering from a fever caused by a bladder infection.

His death certificate dated April 20 indicated that he died la notte scorsa all’ore 7 circa – ‘last night at about seven o'clock’. He was buried in the nearby church of San Lio in the Castello district, not far from the Rialto bridge.

Canaletto was famous largely for the views he painted of his native city, although he also spent time in Rome and the best part of 10 years working in London.

His work was popular with English visitors to Venice, in particular. In the days before photographs, paintings were the only souvenirs that tourists could take home to remind them of the city’s beauty.

Unlike his contemporary, and sometime pupil, Francesco Guardi, whose paintings were a romanticised vision of the city, Canaletto did not feel the need to embellish what he saw.  His works, therefore, were notable for their accuracy.

A Canaletto painting of St Mark's Square looking towards
the clock tower on the northern side

His paintings would begin with a drawing made on the spot, which he would reproduce on canvas in his studio. Canaletto was known to use the camera obscura – a darkened box with a pinhole in which the view is caught and reflected by lenses and mirrors onto a sheet of drawing paper, enabling the artist to trace the outlines of the reflected image as an aid to perspective.

In the studio, he would cut lines into the canvas so that he could accurately reproduce the shape and size of the buildings he had sketched, returning to the scene to add detail and colour by painting ‘from nature’ – in the open air.

Famous for his sweeping scenes of wide canals and water pageants, and for capturing the grandeur of the Doge's Palace and St Mark’s, Canaletto did not confine himself only to the most popular views. He appreciated the beauty created by sunlight illuminating the stone of the buildings and the terracotta roofs, creating different shades of colour depending on the time of day.

Yet he also recognised a different side to his city, as depicted in one of his early paintings, The Stonemasons’ Yard, in which the figures are peasant workers engaged in hard physical work, the buildings scruffy and dilapidated, the sky grey and overcast.

Canaletto's early work The Stonemasons' Yard contrasted
with the 'picture postcard' views for which he became famous

Born in 1697, Giovanni was the son of a painter, Bernard Canal, who made a living making scenery for the theatre. He began as an apprentice in his father’s workshop and became known as Canaletto – literally ‘little Canal’.

He went to Rome to study and was very impressed with the work of Giovanni Paolo Pannini, who painted the daily life of people in his own city, and returned in 1719 eager to become of the Pannini of his own city.  The first painting known to have been signed by Canaletto was dated 1723.

He owed much of his commercial success to the wealthy English merchant, Joseph Smith, later to be the British Consul in Venice, who bought many of Canaletto’s paintings to hang in his own houses, or to sell on to other wealthy Englishmen. He effectively became Canaletto’s agent, often arriving with commissions to paint particular views.

In 1746 Canaletto moved to London, partly to be nearer to his most profitable market, but also because the Austrian War of Succession led to a fall in the number of English visitors to Venice.  For the next 10 years, he produced views of London, including Westminster Abbey, Northumberland House and the new Westminster Bridge, although his clients were less excited with pictures of scenes with which they were familiar than the ones that brought back memories of their travels.

Joseph Smith eventually sold much of his personal collection to George III, which is why the Royal Collection at Windsor Castle contains a substantial number of Canaletto originals. George III paid £20,000 for the lot, which seems very little given the amounts that have changed hands for Canaletto paintings in more recent years.

The record price paid at auction for a Canaletto – indeed the record paid for any work by one of the so-called Old Masters – is £18.6 million, which an anonymous bidder paid for View of the Grand Canal from Palazzo Balbi to the Rialto at Sotheby's in London in July 2005, eclipsing the record set the previous day when The Bucintoro at the Molo, Venice, on Ascension Day was sold by the same auction house for £11.4 million.

Canaletto's house, marked with the plaque above the brown
doors, was in an obscure backstreet near the Rialto

Travel tip:

For much of his life, Canaletto lived in a modest apartment at the end of Calle de la Malvasia, close to a small courtyard-square called Corte Perini in Castello. The building is marked with a plaque. It is easy enough to find – simply leave St Mark’s Square via Marzaria dell’Orologio, passing under the famous clock on the north side of the square, proceed to the church of San Zulian and look for a small alleyway off to the right called Piscina San Zulian, leading to a bridge, Ponte de la Malvasia, which crosses into Calle de la Malvasia. The church of San Lio is in Salizada San Lio, accessible from Corte Perini via a covered walkway.

The Ca' Rezzonico museum holds a number of Canalettos

Travel tip:

Although many Canaletto paintings are in museums and private collections around the world, particularly in England and the United States, a small number are on display in Venice at Ca’ Rezzonico, a palace on the Grand Canal in the Dorsoduro sestiere, which is now a museum dedicated to 18th century Venice.

Check out Venice hotels on TripAdvisor

More reading:

How Venetian old master Titian set new standards

Where the work of Tintoretto remains on show in Venice

How Guardi evoked the last days of the Venetian Republic

Also on this day:

1937: The birth of TV chef and restaurateur Antonio Carluccio



Home

Ilario Bandini - racing car maker

Farmer's son who created beautiful and successful cars

Ilario Bandini, the car maker, pictured in 1988

Ilario Bandini, a businessman and racing driver who went on to construct some of Italy’s most beautiful racing cars, was born on this day in 1911 in Villa Rovere in Emilia-Romagna.

His cars won races in Europe and America and his designs earned the respect of the great Italian performance car maker Enzo Ferrari.

Bandini was from a farming family but was fascinated with cars and motorcycles and began to work part-time as a mechanic while he was still at school, eventually becoming an apprentice in a workshop in nearby Forlì.

At the age of 25 he took the bold decision to move to Eritrea, then an Italian colony, in northern Africa, where he repaired trucks and in time set up a transport business, which was very successful.

The venture made him enough money to open a garage in Forlì. when he returned to Italy in 1939, running a repair workshop alongside a car rental and chauffeured limousine business.

Bandini at the wheel of his first car, the Bandini 1100

At around the same time, he began to compete in motorcycle races, soon graduating from two wheels to four. In 1940, he took part in the Mille Miglia, the 1,000-mile road race from Brescia, near Lake Garda, to Rome and back, driving a Fiat Balilla.

Bandini built his first car almost by accident.  In his possession during the Second World War was a Fiat 1100, which he cut apart and hid to avoid it being requisitioned by the German army.  He began to reassemble it after the war but made adaptations as he did so and equipped the chassis with an entirely different body, made in aluminium by the Turin coach builder Rocco Motto.

He felt entitled to call the car the Bandini 1100, which thus became the first car – “La Prima” – to carry the Bandini name. The small, two-seat car was notable for its elegant, curved lines.  Driving it himself, he finished second in the Predappio to Rocca delle Camminate, a road race held just outside Forlì.

The Bandini badge Ilario placed on the car featured a bantam rooster crowing, the symbol of the town of Forlì.

The 1100 Siluro, which brought Bandini his first race victory

More cars followed. His 1100 Siluro, so-called because of its torpedo-like bodywork, gave him his first win in the Giro dell’Umbria, encouraging him to produce purpose-built racing cars to compete in races such as the Mille Miglia in Italy and the SCCA series in America. They were soon a force to be reckoned in Europe and the United States.

The model that established his reputation was the Bandini 750 Sport Siluro, a tiny sports car that he produced between 1950 and 1956. The car used a modified inline four cylinder Crosley engine, produced by Powel Crosley Jnr, an industrialist from Cincinnati, Ohio, who owned the Cincinnati Reds baseball team.

The 750 Siluro was versatile enough to contest all kinds of events, from hill climbs to road races, airbase circuits and endurance events.

In America, the Siluro won the SCCA class championships in 1955 and 1957 and claimed many other victories in different categories on both sides of the Atlantic.

The Bandini badge, featuring the
crowing bantam, symbol of Forlì

Known to his friends as Lili and sometimes referred to as the “great Drake of Forlì”, Bandini never moved into mass production cars.  There were 17 different models but all of his vehicles were one-offs, in effect, which is why only 73 Bandinis were ever built.  His final car, the Berlinetta 1000 Turbo 16V, was finished shortly before his death in 1992 at the age of 80.

Extraordinarily, Ilario was still getting behind the wheel to compete himself even into his 70s. He drove his 1300 16Vi in the Predappio hill climb in 1985, at the age of 73.

Members of Bandini’s extended family have preserved the memory of his achievements in a museum established in his last workshop in Forlì., which has many documents relating to his career and 10 Bandini cars, considered to be representative of the development of the marque. There are thought to be 46 surviving Bandinis, owned mainly by Japanese and American enthusiasts.

Travel tip:

Villa Rovere was a hamlet at the time of Ilario Bandini’s birth. Situated some 13km (8 miles) west of Forlì, it is now part of the city’s metropolitan area, almost a satellite community.  Forlì itself is a wealthy city with thriving clothing and footwear industries and a number of notable buildings, including the Basilica of San Mercuriale in the central Piazza Saffi, the Pinacoteca Comunale art gallery and the Rocca di Rivaldino, once the fortress stronghold of the redoubtable Caterina Sforza.  Local restaurants are notable for Romagnolo cuisine.

Hotels in Forlì from Hotels.com

The Bandini Collection is housed in a museum in Rovere

Travel tip:

Ilario Bandini’s achievements were recognised in 2002 – 10 years after his death – when in a special ceremony in Forlì, a square just in front of the city’s railway station was renamed Piazzale Ilario Bandini in his honour.  The museum – the Collezione dell’Automobile Brandini – can be found in Via del Braldo in Rovere, although note that viewings are by appointment. 

More readiing:

Vittorio Jano - a great among motor racing engine designers

How little Battista Farina became giant of the automobile industry

Why Gianni Agnelli was more powerful than politicians

Also on this day:

1480: The birth of notorious beauty Lucrezia Borgia

Home

Graziella Sciutti - operatic soprano

Vivacious performer who became a successful director

Graziella Sciutti became an opera star in the 1950s

The operatic soprano Graziella Sciutti, a singer known for a vivacious stage presence and engaging personality who excelled in the work of Mozart, Puccini and Verdi, was born on this day in 1927 in Turin.

The daughter of an organist and pianist, she grew up in a bilingual household, speaking both Italian and her mother’s native tongue, French. Her early childhood was spent in Geneva in Switzerland before the family moved to Rome, so that she could attend the Accademia di Santa Cecilia, which is one of the world’s oldest and most prestigious musical institutions.

Sciutti wanted to play the piano like her father but it became clear she had a notable voice and she caught the eye as a soloist when she was still a student.

She was asked at the last moment to appear in a performance of Bach’s St Matthew Passion, conducted by Herbert von Karajan, the up-and-coming Austrian who would become one of the greatest conductors in the world.  It was a daunting prospect, forced on her at short notice after another singer became ill, but she rose to the challenge and won accolades as a result. 

It led her to be spotted by Gabriel Dussurget, founder and leading light of the Festival at Aix-en-Provence Festival, who had enough confidence in his new discovery to cast her in 1951 in the one-woman opera, Menotti's The Telephone, a role regarded as a test for a young, immature singer.

Sciutti's vivacious character made her
a popular performer in Italy and beyond

Her ambition at that stage was to be a concert singer and she was unsure at first whether she could master the dramatics of opera, yet she was to return to Aix many times. It was there, in fact, that she began to acquire her association with the heroines of Mozart, singing Susanna in Le Nozze di Figaro (The Marriage of Figaro), Despina in Così Fan Tutte and Zerlina in Don Giovanni with distinction.  

In 1954, she made her debut at the Glyndebourne Festival in England, playing Rosina in Rossini's Il Barbiere di Siviglia (The Barber of Seville). In subsequent years she enchanted audiences as Nannetta in Verdi's Falstaff and again visited the Mozart roles of Susanna and Despina.

Sciutti undertook the role of Carolina in Cimarosa's Il Matrimonio Segreto (The Secret Marriage) in the inaugural performances of the Piccola Scala, the small theatre in Milan that adjoined the famous Teatro allaScala, in 1955.  At one stage she was nicknamed ‘the Callas of the Piccola Scala’.

Some critics felt her voice to be too thin for her to be seen as one of the great sopranos but she had the technique to project to all corners of the theatre and, for all her early doubts, she had the acting skills to make up for any shortcomings in her voice. Pretty and petite in comparison with many singers, the innocence, perkiness and coquetry demanded of many of her roles seemed to come naturally.

Her debut at the Royal Opera House at Covent Garden followed in 1956. In 1961 she appeared on stage in America for the first time at the San Francisco Opera, going on to make her debut at the Metropolitan Opera in New York soon afterwards.

Sciutti excelled in the arias of Mozart, Bellini and others

At the Vienna State Opera she sang many of her best roles, including Nannetta in a staging of Falstaff conducted by Leonard Bernstein and directed by Luchino Visconti.

Sciutti was a regular at the Salzburg Festival for 20 years, her Mozart interpretations always in demand. Her final appearance there came in 1972 as Norina in Donizetti's Don Pasquale, conducted by Riccardo Muti.

Her voice proved enduring enough to appear at Glyndebourne even at the age of 50 as Elle in Poulenc's La Voix Humaine. This was a production she also directed, paving the way for a new career.

She directed Figaro and L'Elisir d'Amore for Canadian Opera and in 1983 her production of Puccini’s La Bohème at the Juilliard School won praise.  A year later she directed at the Met for the first time. Her 1995 staging of La Bohème at the New York City Opera won her an Emmy Award after it was broadcast on live television.

Always eager to pass on her knowledge to opera students and would-be performers, she taught at both the Royal College of Music in London and the Lyric Centre in Chicago.

She married an American singer, Robert Wahoske, in 1955, but they divorced in 1960.  She died in Geneva in 2001, a few days before what would have been her 74^th birthday, and was survived by her daughter, Susanna.

The historic headquarters of the Accademia
was in central Rome, near Piazza di Spagna

Travel tip:

Rome’s Accademia Nazionale di Santa Cecilia is one of the oldest musical institutions in the world, founded by a papal bull (public decree) issued by Pope Sixtus V in 1585. Saint Cecilia is the patron saint of music. Its historical headquarters was in Via Vittoria, not far from Piazza di Spagna, but since 2003 it has been headquartered in Viale Pietro de Coubertin at the Renzo Piano-designed Parco della Musica in Rome. It has had a permanent symphony orchestra and choir since 1895. Alumni include Beniamino Gigli, Sergei Rachmaninoff, Ennio Morricone and Cecilia Bartoli.

An audience at the Piccola Scala in 1978

Travel tip:

The Piccola Scala, next to Teatro alla Scala, the opera house in Milan considered to be one of the world’s great opera venues, was opened in 1955 as a theatre dedicated to ancient works that were suited to a fairly intimate setting.  It had room for no more than 600 people. As well as Cimarosa's Matrimonio Segreto, early productions included works by Handel and Monteverdi. Later it staged operas by contemporary composers, including Nino Rota, who was better known for his film music but actually wrote the score for 11 operas.  Sadly, the theatre closed in 1985 after the capacity was reduced to 350 because of new regulations, too small to make it economically viable.

More reading:

How mezzo-soprano Cecilia Bartoli has helped revive lesser-known composers

Giacomo Puccini - musical genius who assumed Verdi's mantle as Italy's greatest

Maestro Muti shows no signs of slowing down

Also on this day:

1598: The birth of astronomer Giovanni Riccioli

Home

Adelaide del Vasto – Countess of Sicily

Prudent ruler who looked after Sicily for her young sons

Adelaide (right) in a painting
that depicts her renouncing
by Baldwin of Jerusalem

Adelaide del Vasto, who served as regent of Sicily during the 12th century, died on this day in 1118 in Sicily.

One historian described her as ‘a prudent woman’ and a Greek and Arab document listed Adelaide – known in Italian as Adelasia - as ‘a great female ruler and protector of the Christian faith’.

Born in Piedmont, Adelaide was from an important family with branches that ruled Liguria and Turin. She became the third wife of Roger I of Sicily in 1089. When he died in 1101 she became regent of Sicily for her young sons, Simon and Roger II, when she was about 26.

After rebellions broke out in parts of Calabria and Sicily, Adelaide dealt with them severely, but this did not tarnish her reputation as a good ruler.

Adelaide’s eldest son, Simon, was enthroned at about the age of nine but he died in 1105 leaving her as regent again until Roger II became old enough to take control of the kingdom in 1112. There is evidence that Adelaide continued to play a central role in the governing of Sicily as her signature can still be seen on documents drawn up after that date.

Baldwin, King of Jerusalem

During her regency Palermo officially became capital of the Kingdom of Sicily. Adelaide, and later Roger II, chose to rule with the help of local officials rather than bringing in foreign advisers. She also donated generously to local Greek monasteries to win favour with them.

When Baldwin, King of Jerusalem, was looking for a new wife, Adelaide was suggested to him by his advisers. Adelaide laid down terms that their son, if they had one, should inherit Jerusalem, but if there was no heir, the kingdom should pass to her son, Roger II.

Adelaide took a large amount of money, which Baldwin urgently needed, Muslim archers and about 1000 Sicilian soldiers with her to Jerusalem.

When no new heir was immediately forthcoming, the King was blamed for having contracted a bigamous marriage because his second wife was still alive and living in a convent after having been cast aside. The Pope, Paschal II, asked for the marriage between Adelaide and Baldwin to be annulled. By then Baldwin was ill and became convinced that renouncing his sin of bigamy would cure him, so he agreed. The annulment was performed and Adelaide sailed back to Sicily.

Adelaide died in 1118 and was buried in Patti in northern Sicily.

Roger II was outraged at the way his mother had been treated and never forgave the Kingdom of Jerusalem.

Thirty years later he refused to give assistance when Jerusalem needed it during the second Crusade, which resulted in a great victory for the Muslims. At the time he was accused of taking revenge against the whole population because of ‘the fault of a single individual’.

The Church of San Cataldo, with its Norman bell tower
and spherical red domes of Islamic influence

Travel tip:

Palermo, which became capital of Sicily during the time Adelaide was regent, is a vibrant city with a wealth of beautiful architecture to impress visitors. The buildings reflect the influence of both northern European and Arabic style. The Church of San Cataldo in Piazza Bellini is a good example of the fusion of Norman and Arabic architecture, having a bell tower typical of churches in northern France as well as three spherical, red domes on the roof, which are typical features of Islamic and Byzantine architecture.

The Cathedral of San Bartolomeo in Patti

Travel tip:

Patti, where Adelaide was buried, is a town in north-east Sicily, about 76 km (47 miles) from Messina, which is famous for the ruins of Tindari, an ancient town destroyed by an earthquake. The city was rebuilt after the Saracens had been driven out by Roger I and Roger II and today is popular for its large sandy beaches. Adelaide’s tomb can be seen in Patti’s Cathedral of San Bartolemeo, which originated in the 10th century and has a striking Romanesque façade.

More reading:

How the Sicilians threw out the French in 1282

Uprising that ended Bourbon rule

Why Sicilian composer Alessandro Scarlatti was ahead of his time

Also on this day:

1839: The birth of Antonio Starabba, Sicilian prime minister of Italy

(Picture credits: Church of San Cataldo by Σπάρτακος; cathedral of San Bartolomeo by Effems; via Wikimedia Commons)

Home