Francesco Tironi, View of Venice, Cannaregio Entrance, 1780, Oil on Canvas

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Francesco tironi (venice, circa 1745-1797)

view of venice with the entrance to cannaregio

oil on canvas
59 x 75 cm … Read more Francesco tironi (venice, circa 1745-1797)

view of venice with the entrance to cannaregio

oil on canvas
59 x 75 cm - framed 72 x 88 cm.

this work is accompanied by a descriptive note by professor e. Negro.

the canvas, dating approximately to the 1790s, is attributed to the venetian view painter francesco tironi (venice, 1745-1797), demonstrating the artist's expressive talents in his mature phase.

this is a view of venice, immortalizing a glimpse of the city with several palaces, two churches, and two bell towers, captured at the mouth of the cannaregio canal. The canvas thus depicts a picturesque corner of the lagoon, populated by a gondola and boats sailing or anchored in that stretch of the city's famous waterway, populated by numerous figures of merchants, sailors, and commoners.

both the architectural structures of the buildings and the gently rippling motion of the lagoon's waves have been reproduced with a sober, compendious depiction of reality. Furthermore, the view composition is appropriately set against a backdrop characterized by a vast expanse of sky traversed by white clouds.

in the eighteenth century, venice experienced a second "golden age" in the artistic and cultural fields. The venetian view became a highly successful pictorial genre, satisfying the needs of patrician families and nobles, especially english and german, but also french, who visited the city during their "voyage d'italie" (venice, florence, rome, naples), and those who, despite never having been to venice, wanted to decorate their residences with views of the serenissima.

alongside antonio canal, "canaletto" (1697-1768), the spearhead of view painting, a large number of artists active in the lagoon city contributed to the extraordinary development of this pictorial period. Among these are luca carvelarijs, the guardis, francesco and his son giacomo, michele marieschi, and francesco tironi, to whom the painting presented here is attributed.

our reference is supported by comparison with the painter's established works, for the similar way of setting the scenes, the shared tendency towards rendering perspective, the attention to detail in the carefully drawn architecture, the marked interplay of light and shadow, and the typology of the numerous canaletto-like figures that enliven the scene in the square.

tironi is characterized by a rather eclectic taste, which inventively blends elements drawn from canaletto or marieschi (for the typology of the 'macchiette' and the compositional layout of the views) with clear influences from guardi (for the synthetic rendering of the architectural elements, fluently defined).

regarding our view of venice at the mouth of cannaregio, there are numerous similarities with other compositions by tironi, so to confirm the proposed proposal, it will suffice to compare it with some drawings by the venetian master (for example, the view of the island of mazzorbo and the view of the islands of murano, san michele, and san cristoforo, both in the robert lehman collection, new york), as well as with the paintings depicting the view of the grand canal with the rialto bridge (ajaccio, musée fesch), the view of the brenta river (genoa, cambi casa d'aste, december 16, 2021, no. 211), and the companion piece with the views of piazza san marco and the island of san giorgio (genoa, wannenes, march 5, 2020, no. 773).

these works, in fact, display clear stylistic analogies and similar perspective inventions found in our scene. This is a distinctive revival of early eighteenth-century landscape painting, aimed at overcoming and simplifying the last vestiges of baroque art, and a clear shift toward more subdued figurative solutions, inspired by genuinely venetian architectural forms: recurring features in francesco tironi's rewarding works.

the view, in excellent condition, is relined and enhanced by a beautiful antique gilded and lacquered frame.

additional information:

the work is sold with a certificate of authenticity and a descriptive iconographic sheet. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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