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BELLOTTO, Bernardo Dresden, the Frauenkirche and the Rampische Gasse oil painting


Dresden, the Frauenkirche and the Rampische Gasse
Painting ID::  5125
BELLOTTO, Bernardo
Dresden, the Frauenkirche and the Rampische Gasse
1749-53 Oil on canvas, 193 x 186 cm Gemäldegalerie, Dresden

   
   
     

BELLOTTO, Bernardo New Market Square in Dresden oil painting


New Market Square in Dresden
Painting ID::  5126
BELLOTTO, Bernardo
New Market Square in Dresden
1750 Oil on canvas, 136 x 236 cm Gemäldegalerie, Dresden

   
   
     

BELLOTTO, Bernardo New Market Square in Dresden from the Jdenhof oil painting


New Market Square in Dresden from the Jdenhof
Painting ID::  5127
BELLOTTO, Bernardo
New Market Square in Dresden from the Jdenhof
1749-51 Oil on canvas, 136 x 236 cm Gemäldegalerie, Dresden

   
   
     

BELLOTTO, Bernardo Zwinger Waterway oil painting


Zwinger Waterway
Painting ID::  5128
BELLOTTO, Bernardo
Zwinger Waterway
1750 Oil on canvas, 133 x 235 cm Gemäldegalerie, Dresden

   
   
     

BELLOTTO, Bernardo Dresden, the Ruins of the Pirnaische Vorstadt oil painting


Dresden, the Ruins of the Pirnaische Vorstadt
Painting ID::  5129
BELLOTTO, Bernardo
Dresden, the Ruins of the Pirnaische Vorstadt
1762-63 Oil on canvas, 80 x 112 cm Mus??e des Beaux-Arts, Troyes

   
   
     

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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.

     Related Artists::.
     | EWORTH, Hans | Gottlieb Schick | Giovanni Bellini |


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