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A veduta (; : vedute) is a highly detailed, usually large-scale or, more often, print of a or some other vista. The painters of vedute are referred to as vedutisti.


Origins
This of originated in , where artists such as painted vedute as early as the 16th century. In the 17th century, Dutch painters made a specialty of detailed and accurate recognizable city and landscapes that appealed to the sense of local pride of the wealthy Dutch middle class. An archetypal example is 's View of Delft. The architect, draughtsman and engraver (1640–1720) contributed to the development of the vedute during his residence in Rome in the late 17th century. Cruyl's drawings reproduce the topographical aspects of the urban landscape. Lieven Cruyl's veduti (or city views)


18th century
As the itinerary of the became somewhat standardized, vedute of familiar scenes like the or the Grand Canal recalled early ventures to the Continent for aristocratic Englishmen. By the mid-18th century, became renowned as the centre of the vedutisti. The genre was pioneered by , and its greatest practitioners belonged to the Canal and families of Venice. Some of them went to work as painters in major capitals of Europe, e.g., in and his nephew Bernardo Bellotto in and .

In other parts of 18th-century Italy, idiosyncratic varieties of the genre evolved. Giovanni Paolo Pannini was the first veduta artist to concentrate on painting . The Dutch painter Gaspar van Wittel (who worked in Rome, where he was known as Vanvitelli) and others painted veduta esatta, i.e. exact vedute, which was a topographically accurate depiction of a cityscape or monument and in which the human and animal figures played a secondary role. His collaborators included Hendrik Frans van Lint, who would become one of the leading vedute painters in the first half of the 18th century.Edgar Peters Bowron, Joseph J. Rishel, Art in Rome in the Eighteenth Century, Philadelphia Museum of Art; Museum of Fine Arts, Houston, 2000, p. 336-338 Through his more realistic representation in the vedute he executed at the end of the 17th century and beginning of the 18th century, the Flemish painter Jan Frans van Bloemen anticipated developments during the 18th century, when there was a shift away from the classically oriented Roman landscapes of French vedute painters in Rome such as .Christine van Mulders and Alain Jacobs. "Bloemen, van." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 5 Dec. 2014 In later developments of the vedute, Pannini's veduta morphed into the scenes partly or completely imaginary elements, known as capricci and vedute ideate or veduta di fantasia.Rudolf Wittkower, Art and architecture in Italy: 1600-1750, Penguin Books, 1980, p. 501 Giambattista Piranesi was the foremost master of vedute ideate . His topographical series, Vedute di Roma, went through many printings.


19th century
In the later 19th century, more personal "impressions" of cityscapes replaced the desire for topographical accuracy, which was satisfied instead by painted, and later photographed, . There was a sizeable community of émigré artists active in Venice, such as Antonietta Brandeis, the Spanish painters Martín Rico y Ortega, Mariano Fortuny, Antonio Reyna Manescau and and the Peruvian painter Federico del Campo. These artists responded to the large international market for their city views of Venice, and they made such big names for themselves through this genre that they painted nothing but Italian views. Demand for Federico del Campo's views, particularly from English tourists, was so strong that he painted several views multiple times, Federico del Campo, Peruvian, Gondolas by the Doge's Palace, Venice at Sotheby's and the same can be said of Reyna Manescau, who repeated the same urban landscapes in many occasions with minimal variations.


See also


Further reading
  • . (1991) I pittori di * Canaletto'', a full text exhibition catalog from The Metropolitan Museum of Art, which has material on Canaletto's contributions to the genre


External links
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