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  • Bonington left Paris for Italy with his friend and pupil Charles Rivet, later Baron Rivet, on 4 April 1826. They traveled quickly through France and Switzerland, arriving in Milan on 11 April. Bonington was eager to press on, for, as Rivet noted, he “thinks only of Venice” (Noon, 1991, p. 56). Reaching Verona on 18 April, they arrived in Venice a few days later and stayed there until the end of May. Bonington sketched incessantly in graphite, watercolor, and oils. These sketches provided subject matter for much of his finished art in the remaining months of his life. From Venice the two friends went on to Padua, Florence, Pisa, Lerici, Genoa, and Turin, never lingering in any one place. Rivet was back in Paris by 20 June, though Bonington may have done some further traveling on his own in Switzerland. In 1825 Bonington had begun sketching en plein air in oils on small millboards, which he discovered during his trip to London. He seems to have brought back about two dozen such sketches on millboard from Italy (Noon, 1991, pp. 59–60). This oil sketch shows the north side of the Grand Canal near its entrance, looking towards the Bacino di San Marco. While Bonington has deftly captured the brilliant shimmering light on the water and the facades of the palazzi, topographical accuracy was clearly not a priority. He has elided the famous Palazzo Gritti-Pisani from the succession of buildings lining the canal.
?:PX_curatorial_comment
  • Bonington left Paris for Italy with his friend and pupil Charles Rivet, later Baron Rivet, on 4 April 1826. They traveled quickly through France and Switzerland, arriving in Milan on 11 April. Bonington was eager to press on, for, as Rivet noted, he “thinks only of Venice” (Noon, 1991, p. 56). Reaching Verona on 18 April, they arrived in Venice a few days later and stayed there until the end of May. Bonington sketched incessantly in graphite, watercolor, and oils. These sketches provided subject matter for much of his finished art in the remaining months of his life. From Venice the two friends went on to Padua, Florence, Pisa, Lerici, Genoa, and Turin, never lingering in any one place. Rivet was back in Paris by 20 June, though Bonington may have done some further traveling on his own in Switzerland. In 1825 Bonington had begun sketching en plein air in oils on small millboards, which he discovered during his trip to London. He seems to have brought back about two dozen such sketches on millboard from Italy (Noon, 1991, pp. 59–60). This oil sketch shows the north side of the Grand Canal near its entrance, looking towards the Bacino di San Marco. While Bonington has deftly captured the brilliant shimmering light on the water and the facades of the palazzi, topographical accuracy was clearly not a priority. He has elided the famous Palazzo Gritti-Pisani from the succession of buildings lining the canal.
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  • Alternate title :: Grand Canal, Venice, Italy
  • Alternate title :: Rialto
  • Bibliograpic reference ::
  • Bibliograpic reference :: Andrew Shirley, Bonington, K. Paul, Trench, Trubner & co., ltd., London, 1940, p 103, pl. 93, NJ18 B65 S5
  • Bibliograpic reference :: Bruce Boucher, Vedute and Opera, Apollo, v. 119, no. 265, March 1984, p. 217, fig. 1, N1 A54 + (YCBA)
  • Bibliograpic reference :: Christie's Advertisement for Sale on Friday, June 18, 1971, Apollo, v. 93, no. 112, June 1971, p. 23, N1 A54 + (YCBA)
  • Bibliograpic reference :: Christie's Sale Catalogue: English Pictures c. 1700- c. 1850, 18 June 1971, Christie's, 1971, p. 33, Lot 108, Sales Catalogues (YCBA)
  • Bibliograpic reference :: Geoffrey Agnew, Yale's 1700 Mellon Pictures, The Times (London), issue no. 59989, Thursday, April 28, 1977, p. 9, Available Online : Times Digital Archive , Also available on Microfilm : Film An T842 (SML)
  • Bibliograpic reference :: Grand Canal, Venice (Art Reproduction), Apollo, v. 93, no. 112, June 1971, p. 23, N1 A54 + (YCBA)
  • Bibliograpic reference :: James Gardner, A Poet in Paint, Magazine Antiques, vol. 178, January/February 2011, pp. 194-201, NK1125 A3 OVERSIZE
  • Bibliograpic reference :: John Baskett, Paul Mellon's legacy, a passion for British art : masterpieces from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 2007, p. 293, no. 108, pl. 108, N5220 M552 P38 2007 OVERSIZE (YCBA)
  • Bibliograpic reference :: Luke Herrmann, Nineteenth century British painting, Giles de la Mare, London, 2000, no. 35, ND467 H47 2000 (YCBA)
  • Bibliograpic reference :: Malcolm Cormack, Bonington, Phaidon, Oxford, 1989, pp. 6-7, 120-21, fig. 1, NJ18 B65 C67 + (YCBA)
  • Bibliograpic reference :: Patrick Noon, Richard Parkes Bonington, "On the pleasure of painting", Yale Center for British Art, New Haven, 1991, p. 212, no. 96, NJ18 B65 N66 1991 + (YCBA)
  • Bibliograpic reference :: Patrick Noon, Richard Parkes Bonington, the complete paintings, Yale University Press, New Haven, 2008, p. 305, no. 240, NJ18 B65 A12 N66 2008 + (YCBA)
  • Bibliograpic reference :: Paul Mellon's Legacy, a passion for British art. [large print labels], Yale Center for British Art, New Haven, CT, 2007, v. 3, N5220 M552 +P381 2007, Mellon Shelf (YCBA)
  • Bibliograpic reference :: Paul Mellon's legacy, a passion for British art. [large print labels], Yale Center for British Art, New Haven, CT, 2007, v. 3, N5220 M552 +P381 2007, Mellon Shelf (YCBA)
  • Bibliograpic reference :: Sales, Athenaeum, no. 2633, April, 1878, p.483, Available Online: British Periodicals II , Also Available: A88 At421 + (SML)
  • Bibliograpic reference :: The Pictures of the late R. P. Bonington, The Times (London), , Tuesday, August 27, 1833, p. 5, Available online : Times Digital Archive , Also available on Microfilm : An T482 (SML)
  • Bibliograpic reference :: The Sale Room, Apollo, v. 94, no. 115, September 1971, fig. 7, N1 A54 + (YCBA)
  • Bibliograpic reference :: View on the Grand Canal, Venice (Art Reproduction), Connoisseur, v. 178, November 1971, p. 221, N1 C75 + (YCBA)
  • Bibliograpic reference :: Wildenstein Loan Exhibition Venice Rediscovered 8 November - 15 December, November, 1972, p. 81, N1 A54 + (YCBA)
  • Dimension height :: 23.5cm
  • Dimension width :: 34.9cm
  • Exhibition :: 2016 Installation YCBA - 401
  • Exhibition :: An American's Passion for British Art - Paul Mellon's Legacy
  • Exhibition :: Richard Parkes Bonington
  • Exhibition :: Yale University Art Gallery 2015-2016
  • Located in :: 401
  • Located in :: Bay23
  • Located in :: New Haven
  • Located in :: On view
  • Located in :: YCBA, 401, Bay23
  • Located in :: Yale Center for British Art
  • Object type :: painting
  • Subject Concept :: architectural subject
  • Subject Concept :: architecture
  • Subject Concept :: balconies
  • Subject Concept :: barge
  • Subject Concept :: boats
  • Subject Concept :: buildings
  • Subject Concept :: canal
  • Subject Concept :: church
  • Subject Concept :: cityscape
  • Subject Concept :: clouds
  • Subject Concept :: facades
  • Subject Concept :: gondolas
  • Subject Concept :: marine art
  • Subject Concept :: palaces
  • Subject Concept :: people
  • Subject Concept :: piers (marine landings)
  • Subject Concept :: reflection
  • Subject Concept :: river
  • Subject Concept :: sky
  • Subject Place :: Grand Canal
  • Subject Place :: Italy
  • Subject Place :: Veneto
  • Subject Place :: Venezia
  • Subject Place :: Venice
?:PX_display_wrap
  • ...
?:PX_has_credit_line
  • Yale Center for British Art, Paul Mellon Collection
?:PX_has_main_representation
?:label
  • Grand Canal, Venice
?:type