Venice, the entrance to the Canareggio with San Geremia

A younger contemporary of Canaletto, Marieschi is thought to have trained and practised as a set-designer before turning his attentions to capriccios and vedute, inspired by the example of Marco Ricci, Luca Carlevarijs and most notably Canaletto. He had established a reputation as a view painter by the mid-1730s, adding lustre to the genre with his lively use of brushwork. His paintings are distinguished from those of Canaletto by their exaggerated perspective and more atmospheric palette. Few of his view pictures have early recorded provenance, with his only known patron being the great collector Field Marshall Count Johann Matthias von der Schulenburg (1661-1747).

This view of the entrance to the Canareggio would seem to be a late and perhaps unfinished work by Marieschi, showing a characteristic treatment of the buildings, particularly those on the left, and the water. However, as Charles Beddington has observed, the execution of some passages, including the campanile of San Geremia, is less convincing, suggesting that the picture may have been left unfinished by Marieschi and completed by another hand in the studio. The fluently executed figures are evidently by Gianantonio Guardi, who frequently assisted Marieschi.