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$ 140,000

A set of Five Vedute (scenes) of Venice

Documentation Ample Provenance
Origin Italy
Period 18th Century
Materials Tempera on paper
W. 14.25 in; H. 9.25 in;
W. 36.2 cm; H. 23.5 cm;
Condition Good.
Description Vincenzo Chilone was a stage designer and artist from Venice who was inspired by Canaletto, and worked in his native city for over 40 years. He was one of the most significant artists in the Venetian tradition of the eighteenth century. He was elected to the Accademia di Pittura in 1824. Similar views were also painted in fresco in 1797 by Chilone for the “Salottino Veneziano” in the D’Attimis Marcatti villa in Udine. In 1814 he travelled to Udine (north of Venice) with the painters Giuseppe Bernardino and Giuseppe Borsato.
After an apprenticeship with three Roselo brothers, Vicenzo Chilone became the painter and contractor for Alessandro Mauro and Angelo Fossati, collaborating on the decorations for the visits to Venice of the “Count of the North.”
After having painted, in early 1790, views of villas and a view of the mills at Villa Belvedere in Maruano (between 1795-1798,) Chilone went to Udine to decorate, along with Antonio Mauro, the new society theater. In 1797, still in Udine, he also painted three views of Venice for the Palazzo d’Altmis Moretti which are still in sitú.
Returning to Venice, Chilone dedicated himself to easel painting, frequenting the Academia delle Belle Arti. On April 19th, 1824, he gave an architectural perspective of the atrium of a Venetian Palace to the Academia de Pittura on the occasion of being elected to it. This painting was drawn very accurately with delicate and fine accents. It is now in the Museo d’Arte Moderno (IN #441) in Venice.
In 1815, he painted the ceremony relocating the horses to the Basilica of San Morea, which had been taken by Napoleon.
Another large painting by Chilone’s is in the Correr Museum representing a view of the Bacino de San Marco, another painting of the Regata on the Grand Canal that was made to mark the occasion of the Austrian monarch’s visit to Venice in 1825. Yet another painting of the Rio Ognisanti in San Trovaso is signed and dated 1835.
This set of many diverse views in tempera of Venice, is unusual and, as still together, are a delightful and important document of his work.
Styles / Movements Old Master, Other
Book References L. Padoan Urban, Vincenzo Chilone in La Pittura Veneziana dal ‘400 al ‘700, studi di storia dell’arte in onore di Egidio Martini. Venezia, 1999, pages 295-299.
Incollect Reference Number 308466
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