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BELLOTTO, Bernardo View of the Villa Cagnola at Gazzada near Varese oil painting


View of the Villa Cagnola at Gazzada near Varese
Painting ID::  5120
BELLOTTO, Bernardo
View of the Villa Cagnola at Gazzada near Varese
1744 Oil on canvas, 100 x 65 cm Pinacoteca di Brera, Milan

   
   
     

BELLOTTO, Bernardo View of Gazzada near Varese oil painting


View of Gazzada near Varese
Painting ID::  5121
BELLOTTO, Bernardo
View of Gazzada near Varese
1744 Oil on canvas Pinacoteca di Brera, Milan

   
   
     

BELLOTTO, Bernardo View of Turin near the Royal Palace oil painting


View of Turin near the Royal Palace
Painting ID::  5122
BELLOTTO, Bernardo
View of Turin near the Royal Palace
1745 Oil on canvas, 129,5 x 174 cm Galleria Sabauda, Turin

   
   
     

BELLOTTO, Bernardo The Kreuzkirche in Dresden oil painting


The Kreuzkirche in Dresden
Painting ID::  5123
BELLOTTO, Bernardo
The Kreuzkirche in Dresden
1747-56 Oil on canvas, 197 x 187 cm The Hermitage, St. Petersburg

   
   
     

BELLOTTO, Bernardo View of Dresden from the Right Bank of the Elbe with the Augustus Bridge oil painting


View of Dresden from the Right Bank of the Elbe with the Augustus Bridge
Painting ID::  5124
BELLOTTO, Bernardo
View of Dresden from the Right Bank of the Elbe with the Augustus Bridge
748 Oil on canvas, 133 x 237 cm Gemäldegalerie, Dresden

   
   
     

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     BELLOTTO, Bernardo
     Italian Rococo Era Painter, ca.1721-1780 Bernardo Bellotto (30 January 1720 ?C 17 October 1780) was an Italian urban landscape painter or vedutista, and printmaker in etching famous for his vedutes of European cities (Dresden, Vienna, Turin and Warsaw). He was the pupil and nephew of Canaletto and sometimes used the latter's illustrious name, signing himself as Bernardo Canaletto ?? fraudulently, according to some. Especially in Germany, paintings attributed to Canaletto may actually be by Bellotto rather than by his uncle; in Poland, they are by Bellotto, who is known there as "Canaletto". Bellotto's style was characterized by elaborate representation of architectural and natural vistas, and by the specific quality of each place's lighting. It is plausible that Bellotto, and other Venetian masters of vedute, may have used the camera obscura in order to achieve superior precision of urban views.

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     | Francis Swain Ward | Francisco Rizi | Lovis Corinth |


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