(Palmanova 1772–1844 Milan)
Campo Santo Giovanni e Paolo, Venice,
oil on canvas, 32.4 x 49.8 cm, framed

We are grateful to Fabrizio Magani for suggesting the attribution of the present painting.

The present work shows one of the most popular areas in Venice with the Basilica, the School of San Marco and the horse of the Colleoni in its characteristic atmosphere, vivacity, monumentality and architectural details. It is not hard to catch a glimpse of the ‘Canalettian’ source, relating to one of his artworks that is part of a series published by Canaletto himself and Antonio Visentini, Urbis Venetiarum prospectus celebriores, an extraordinary collection of prints meant to insert the image of Venice in the international art market.

More specifically, it relates to the work entitled Platea S.S. Iohannis et Pauli, eorum Templum et Schola D. Marci. In the present work, Bison remains faithful to the style typical of vedutismo inherited from the past, but at the same time, manages to reinterpret and renovate tradition. Similar to Canaletto is also the peacefulness with which the composition is portrayed, though at the same time animated by crossing boats, the group of picturesque figures on the foreground, and the sunny daylight spotted with some light and dark areas conveniently arranged. Lastly, the wide Venetian spaces, the broad and sharp horizons, the accuracy of architectural details, the life events that animate the city, and the particular focus and inventive on the figures, are all elements that bring to mind Canaletto.

In the last part of the eighteenth century, a great number of young artists had understood the monetary advantages of producing replicas of Venetian views produced by famous masters, and started an activity oriented in producing replicas of the some of the most famous spots of the city. Later on, as the times and tastes of the people changed, they would turn to the art market to sell their works. Hence, it is not a surprise that Bison used an engraving to recreate a Venetian view.

In the present work, he efficiently captures the perspective effects from a low point of view and depicts the architectural lines with precision. The layer of paint is firm, which helps to easily identify the pictorial areas. Their solidity obtained with oil paint seems to reinterpret in a personal taste the macchia typical of Venetian eighteenth century art. This stylistic characteristic may suggest that the painting was made during the artist’s years in Milan, where Bison worked in close contact with Raffaello Tosoni, an agent that helped him sell his works and that granted him access to the expositions in Brera. From the list of works of Bison sold and created by Tosoni and published in 1940 by Carolina Piperata (see C. Piperata, Giuseppe Bernardino Bison (1762–1844), Florence 1940), there are many works of Bison related to Canaletto: proof of how the passion for eighteenth century vedutismo was widespread even amongst the Milanese collectors.

Born in Palmanova, after a first formation in Venice where he dedicated himself to interior decoration and to an unknown number of landscape and view paintings, Bison spent about thirty years in Trieste and, from 1831 onwards, in Milan. Despite his long artistic career in different regions, Bison would nevertheless remain faithful to the vedutismo of traditional Venetian style.