.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Vue du pont de Westminster à Londres, lors de Lord Mayor’s Day
Details
PIETRO BELLOTTI (VENISE 1725-1804⁄1805 TOULOUSE ?)
Vue du pont de Westminster à Londres, lors de Lord Mayor’s Day
inscrit '5' (au revers, sur le châssis)
huile sur toile, sur sa toile et son châssis d'origine
38 x 48,5 cm (15 x 19 1⁄16 in.)
Vue du pont de Westminster à Londres, lors de Lord Mayor’s Day
inscrit '5' (au revers, sur le châssis)
huile sur toile, sur sa toile et son châssis d'origine
38 x 48,5 cm (15 x 19 1⁄16 in.)
Provenance
Monsieur Dupré, peintre, Toulouse, jusqu'en 1765 (selon R. Mesuret, 1972, voir infra) ;
[Probablement] acquis auprès de celui-ci par Henri-Auguste de Chalvet-Rochemonteix (1713-1772), sénéchal, gouverneur de Toulouse & pays d'Albigeois, château du sud-ouest de la France ;
Puis par descendance dans la famille à l'actuel propriétaire.
[Probablement] acquis auprès de celui-ci par Henri-Auguste de Chalvet-Rochemonteix (1713-1772), sénéchal, gouverneur de Toulouse & pays d'Albigeois, château du sud-ouest de la France ;
Puis par descendance dans la famille à l'actuel propriétaire.
Literature
R. Mesuret, Les expositions de l'Académie royale de Toulouse de 1751 à 1791, Toulouse, 1972, p. 151, n°1313.
A. van de Sandt et al., 'Alla ricerca di Pietro Bellotti, un veneziano di Tolosa', Saggi e Memorie di storia dell'arte, 2001, XXV, p. 111.
C. Beddington, 'Pietro Bellotti in England and Elsewhere', The Burlington Magazine, octobre 2007, CXLIX, 1255, p. 678, p. 681 et p. 684.
A. van de Sandt et al., 'Alla ricerca di Pietro Bellotti, un veneziano di Tolosa', Saggi e Memorie di storia dell'arte, 2001, XXV, p. 111.
C. Beddington, 'Pietro Bellotti in England and Elsewhere', The Burlington Magazine, octobre 2007, CXLIX, 1255, p. 678, p. 681 et p. 684.
Exhibited
Toulouse, Hôtel de Ville, Salon de l'Académie Royale, 1765, n°35 (comme 'Vingt petits Tableaux, par Bellotti, peintre, qui sont des Vuës en perspective. A M. Dupré, peintre' - selon R. Mesuret, 1972, voir infra).
Toulouse, musée Paul-Dupuy, De Bellotti à Wallaert. Les peintres de marine à Toulouse, 1957, n°14.
Toulouse, musée Paul-Dupuy, Les collectionneurs toulousains du XVIIIe siècle. L'Académie royale de peinture, sculpture et architecture (1750-1793), 17 janvier-30 avril 2001 (hors catalogue).
Venise, Ca' Rezzonico, Museo del Settecento veneziano, Pietro Bellotti : un altro Canaletto, 7 décembre 2013-28 avril 2014, n°25.
Toulouse, musée Paul-Dupuy, De Bellotti à Wallaert. Les peintres de marine à Toulouse, 1957, n°14.
Toulouse, musée Paul-Dupuy, Les collectionneurs toulousains du XVIIIe siècle. L'Académie royale de peinture, sculpture et architecture (1750-1793), 17 janvier-30 avril 2001 (hors catalogue).
Venise, Ca' Rezzonico, Museo del Settecento veneziano, Pietro Bellotti : un altro Canaletto, 7 décembre 2013-28 avril 2014, n°25.
Further Details
PIETRO BELLOTTI (1725-1804⁄1805), VIEW OF WESTMINSTER BRIDGE IN LONDON ON LORD MAYOR’S DAY, OIL ON CANVAS, UNLINED, ON ITS ORIGINAL STRETCHER, INSCRIBED (ON THE REVERSE)
The fact that this view of London was painted before Bellotti’s departure for the city in 1762 is betrayed by his unfamiliarity with the subject. The artist used as his model an engraving by Richard Parr (c.1707-1754), published in March 1747, itself inspired by a painting by Canaletto now in the Yale Center for British Art in New Haven (fig. 1, inv. B1976.7.94).
Canaletto’s painting, also made in 1747, was intended to commemorate two important civic events: the annual river festivities celebrating Lord Mayor’s Day (the Lord Mayor’s barge appears at the bottom right of the composition) and the completion of Westminster Bridge. However, at the time of its execution, the bridge was in fact still under construction (it was inaugurated only three years later), and this part of the scene is largely imaginary. The artist thus included statues of the Thames and Isis above the central arch of the bridge, never realized, but omitted the twelve little buildings that interrupted the line of the balustrade.
The fact that this view of London was painted before Bellotti’s departure for the city in 1762 is betrayed by his unfamiliarity with the subject. The artist used as his model an engraving by Richard Parr (c.1707-1754), published in March 1747, itself inspired by a painting by Canaletto now in the Yale Center for British Art in New Haven (fig. 1, inv. B1976.7.94).
Canaletto’s painting, also made in 1747, was intended to commemorate two important civic events: the annual river festivities celebrating Lord Mayor’s Day (the Lord Mayor’s barge appears at the bottom right of the composition) and the completion of Westminster Bridge. However, at the time of its execution, the bridge was in fact still under construction (it was inaugurated only three years later), and this part of the scene is largely imaginary. The artist thus included statues of the Thames and Isis above the central arch of the bridge, never realized, but omitted the twelve little buildings that interrupted the line of the balustrade.
Brought to you by
Olivia Ghosh
Specialist