Venice in the 19th-Century paintings

Friedrich Nerly🎨 (German painter, 1842–1919) Piazza San Marco in Venedig bei Mondlicht, 1871

A Visit to Venice

by Ivan Sergeevič Turgenev - Novel "On the Eve", 1860

"Whoever has not seen Venice in the month of April will find it hard to picture to himself the indescribable charm of this fairy city. The softness and mildness of spring are to Venice, what the bright summer sun is to glorious Genoa, or what the purple golden autumn is to ancient Rome.

Like spring, the beauty of Venice excites and arouses our softest desires; it animates and stirs the unspoiled heart like the promise of some near, undefined, mysterious pleasure".

Marco Ortolan, 1973

Marco Ortolan - "Drawing is the fundamental basis of my painting, it is what keeps it afloat. I pay particular attention to composition and light. Our role as an artist is to awaken the spirit and sensitivity of the viewer as art is linked to the spirit".

Marco Ortolan was born in Arquitecto, Argentina.

Since 1985 he trained in the plastic arts at the Miguel Perez Macias Academy where he developed Drawing and Painting with references to the Italian Renaissance and French Impressionism.

Friedrich Nietzsche | Venedig

Luca Carlevarijs (Italian painter, 1663-1730) View of the Molo Venice looking west

Venice

By the bridge I stood

recently in the brown night.

From the distance came the sound of song;

golden drops surged away

over the vibrating surface.

Venezia

Stavo sul ponte,

poco tempo fa, nella notte bruna.

Di lontano giungeva un canto:

gocce d’oro affioravano

sulla superficie vibrante.

Pietro Canonica | Figurative sculptor

“The aim of the artist is to study truth in its purest form, concentrating the greatest possible emotion on it”, with these words Pietro Canonica (1869-1959) declared his predilection for an art capable of idealising and yet at the same time expressing the most secret motions of the soul.

In his sculptures he combines the proportions and balance of classical art, the refined models of fifteenth century Florentine work, the lightness of touch of neoclassicism, Romantic disquietude and nineteenth century sensibility.

Gifted with an absolute mastery of technique and great ability and speed in working the material, he received commissions from the aristocracy of all Europe, who sought after his refined taste and idealization.

Charles Caryl Coleman | Genre painter

Charles Caryl Coleman (1840-1928) was an American artist who lived most of his life in Capri, Italy.

Coleman studied art with Andrew Andrews and W.H. Beard in Buffalo, NY in the 1850s.

Between 1859-1862, Coleman studied in Paris under Thomas Couture, returning during the American Civil War to serve with the Union Army during which he was seriously wounded in South Carolina and recovered in New York City.

Augusto Lovatti | Genre / landscape painter

Born in Rome and active in Naples, Augusto Lovatti (1852-1921) painted various aspects of Capri, Sorrento, Amalfi, also Pompeian subjects, genre scenes, landscapes and seascapes.

Lovatti studied in Rome at the school of Cesare Maccari (1840-1919), then moving away from the capital, perhaps for reasons of a political nature, to move to live and work in Capri from the late 1980s.

Friedrich Paul Nerly | Seascape painter

Friedrich Nerly or Federico Nehrlich (October 26, 1842 - 1919) was an German🎨-Italian painter who specialized in Seascapes.

Nerly was of Prussian nationality. He completed his first studies with his father, a well known Landscape artist.

He later enrolled in the Academy of Fine Arts of Venice, studying under professors Eugene de Blaas🎨, Federico Moja and Pompeo Mariano Molmenti.

From 1862-65 and in 1866, he served in the army. He visited the principal artistic cities of Germany: Düsseldorf, Weimar, Munich, and Dresden.

In 1868, he traveled to Francia, Austria, Dalmatia, and Montenegro, and visited Rome, Naples and Sicily.

Pierre-Auguste Renoir | Artworks

Renoir's paintings are notable for their vibrant light and saturated color, most often focusing on people in intimate and candid compositions.

The female figure was one of his primary subjects. However, in 1876, a reviewer in Le Figaro wrote "Try to explain to Monsieur Renoir that a woman's torso is not a mass of decomposing flesh with those purplish green stains that denote a state of complete putrefaction in a corpse".

Yet in characteristic Impressionist style, Renoir suggested the details of a scene through freely brushed touches of colour, so that his figures softly fuse with one another and their surroundings.