Joseph Mallord William Turner

The Riva degli Schiavoni, Venice, with St Mark’s Campanile, the Piazzetta, Santa Maria della Salute and the Dogana, with the Redentore and San Giacomo on the Giudecca in the Distance

1819

In Tate Britain

Prints and Drawings Room

View by appointment
Artist
Joseph Mallord William Turner 1775–1851
Medium
Graphite on paper
Dimensions
Support: 111 × 184 mm
Collection
Tate
Acquisition
Accepted by the nation as part of the Turner Bequest 1856
Reference
D14493
Turner Bequest CLXXVI 3 a

Catalogue entry

The drawing continues across folio 4 recto opposite (D14494). Finberg subsequently annotated his 1909 Inventory entry (‘View from the Mola [sic], with S. Maria della Salute and Dogana in the distance’) to read: ‘View from beyond the Molo’.1 He also elaborated: ‘Redentore. Doga. Salute, Mint, Columns, Doges Pal, Prison, Campanile, with scaffolding &c. Ponte del Vin in foregd. Caserna. Danieli’s. Note wooded hutchment far end of Danieli’s – now gone & shape of bridge – now altered see [Antonio] Quadri’s views [engraved in 1831]’.2 The Turner scholar C.F. Bell wrote in another copy: ‘Redentore l. Hotel Daniell r’.3
The viewpoint is the Riva degli Schiavoni. On this page the prospect is south-west across the Bacino and Giudecca Canal to the domed church of the Redentore and the campanile of the adjacent church of San Giacomo, demolished in 1837,4 on the left. On the right to the west-south-west are the cursorily indicated porch of the Dogana and domes of the church of Santa Maria della Salute, covered in various drawings in the contemporary Milan to Venice sketchbook (see for example Tate D14438; Turner Bequest CLXXV 64a). In the light of more detailed treatments in the other book as compared with the Venice views here, Finberg took the present drawing as an example:
The whole scene is lightly touched in, but most of the essential features of each building are ignored. One feels that Turner was now sketching a scene composed of familiar features, and that his attention was directed to the scene as a whole rather than to its parts. I have no doubt that when he made this sketch he was toying with the idea of painting a picture of this view which would have challenged Canaletto on his own ground.5
For other drawings made in the vicinity, see the sketchbook’s Introduction.

Matthew Imms
March 2017

1
Undated MS note by A.J. Finberg (died 1939) in interleaved copy of Finberg 1909, Tate Britain Prints and Drawings Room, I, p.516.
2
Ibid., opposite p.516; see also Finberg 1930, pp.58, 61.
3
Undated MS note by C.F. Bell (died 1966) in copy of Finberg 1909, Tate Britain Prints and Drawings Room, I, p.516.
4
For history and images see Jeff Cotton, ‘The Lost Churches’, The Churches of Venice, accessed 4 January 2017, http://churchesofvenice.co.uk/demolished.htm#giud.
5
Finberg 1930, p.61.

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