Joseph Mallord William Turner

Santa Maria della Salute, the Dogana and the Campanile of San Marco (St Mark’s), Venice, from the Canale della Giudecca; Venice across the Bacino, from the Campanile to the Isola di San Giorgio Maggiore


In Tate Britain

Prints and Drawings Room

View by appointment
Joseph Mallord William Turner 1775–1851
Graphite on paper
Support: 111 × 184 mm
Accepted by the nation as part of the Turner Bequest 1856
Turner Bequest CLXXVI 16 a

Catalogue entry

At the top is a schematic view north from the Canale della Giudecca with the outlines of the main dome of Santa Maria della Salute, the Seminario Patriarcale and the Dogana, with the campanile of San Marco (St Mark’s) to the right, beyond the Dogana’s porch. The Turner scholar C.F. Bell annotated Finberg’s 1909 Inventory entry (‘Isola di S. Giorgio Maggiore; also Campanile and Doge’s Palace’): ‘Panoramas from a gondola’.1 Bell marked Finberg’s similar text in In Venice with Turner (1930): ‘Panorama from a gondola’.2
The relatively detailed prospect below is to the north and east from the Bacino across the start of the Giudecca canal, from a viewpoint similar to that used for the drawing of the Salute and Giudecca churches in the opposite direction on folios 15 verso–16 recto (D14516–D14517). To the left here the campanile is repeated, with the domes of the Basilica above the south-western corner of the Palazzo Ducale (Doge’s Palace), and the Riva degli Schiavoni waterfront with its towers and domes beyond. The panorama continues half way across folio 17 recto opposite (D14519), with the island church of San Giorgio Maggiore across the Bacino.
Compare the more detailed panorama from the Isola della Giudecca on folios 17 verso–18 recto (D14520–D14521). For other drawings made in the vicinity, see the sketchbook’s Introduction.

Matthew Imms
March 2017

Undated MS note by C.F. Bell (died 1966) in copy of Finberg 1909, Tate Britain Prints and Drawings Room, I, p.517.
Undated MS note by Bell (before 1936) in copy of Finberg 1930, Prints and Drawings Study Room, British Museum, London, p.167, as transcribed by Ian Warrell (undated notes, Tate catalogue files).

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