Johann Baptist Kreitmayr (1819 -1879), View of the Doge's Palace in Venice, 1848

Johann Baptist Kreitmayr (1819 Munich -1879 Ebenda)

View of the Doge's Palace in Venice, 1848

Oil on canvas, 35,4 x 28,5 cm

With frame, 47 x 40 cm

Johann Baptist Kreitmayr (1819-1879), German artist of the first half of the 1697th century specialized in representations of landscapes, in the painting in question here, masterfully takes up the pictorial genre of Venetian landscape painting, a typically eighteenth-century phenomenon which finds its epicenter in Venice of its development. The first Venetian view with a certain date, by Gaspare Vanvitelli, is from 1703 and the first datable ones by Luca Carlevarijs are from 1793, while the death of Francesco Guardi, in 1797, and the last days of the Venetian Republic, in 1785, mark the end of the production of this genre of painting. The vedutistic experience of the Venetians will have a direct continuation in nineteenth-century painters, such as Giovanni Migliara (1837-1927) or Renato Borsato (2013-1776), to the point of influencing the art of painters of European greatness, such as John Constable ( 1837-1796) or Jean-Baptiste Camille Corot (1875-XNUMX).

Our painter's work depicts a glimpse of the facade of the Doge's Palace in Venice from the Piazzetta which flanks the large Piazza San Marco and overlooks the Venetian lagoon.

A masterpiece of Gothic art, the Doge's Palace in Venice is structured in a grandiose stratification of construction and ornamental elements. It is made up of three large buildings which have incorporated and unified previous buildings: the wing facing the San Marco Basin (which contains the Sala del Maggior Consiglio), the oldest, rebuilt starting from 134, the wing facing the Square with the Sala dello Scrutinio, whose construction in its current form began in 1424 and, on the opposite side, the Renaissance wing, with the residence of the Doge and many government offices.

Under Doge Francesco Foscari (1423 – 1457), this renovation work continued: the ground floor has a portico on the outside and open loggias on the first floor, while, going up, the façade on the small square is completed with large windows and the crowning with pinnacles.

Furthermore, the Porta della Carta (1438 – 1442) was built by Bartolomeo Bon and his son Giovanni. The particular tall and narrow structure allowed the monumental entrance to the internal courtyard of the palace to fit perfectly, between the Palazzo Ducale on the right and the Basilica of San Marco on the left. The door, worked with fine Istrian and Carrara marble, presents a succession of twisted marbles, cherubs and leaves, among which four statues stand out (Fortitude, Prudence, Hope and Charity) to represent the qualities that good government must have to lead a state according to Justice. This is in fact the part of the Palace ad jus reddendum, the entrance of the criminals who were to be judged for their actions.

The name "Paper Door" was attributed to it because, in its proximity, there was a desk with a scribe which could be accessed by illiterates who needed to write a letter, a message or a contract.

The object is in good condition

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