piazzetta
Otto Eduard Pippel was a German painter.
![[PIAZZETTA, Giovan Battista (1683-1754)] - Naturam Referens Patet Ars Sed Utrumque Magistra. Venice: Teodoro Viero, [ca. 1785].](/assets/image/picture_1242412/3444c/k7skmtcgy8syjubjbcta2pprdosm6hcrwrwbgrh0atyxzg7cx4g1xn822mm-p-g1608651686jpg__fix_374_244.jpeg)
![[PIAZZETTA, Giovan Battista (1683-1754)] - Naturam Referens Patet Ars Sed Utrumque Magistra. Venice: Teodoro Viero, [ca. 1785].](https://veryimportantlot.com/assets/image/picture_1242412/3444c/k7skmtcgy8syjubjbcta2pprdosm6hcrwrwbgrh0atyxzg7cx4g1xn822mm-p-g1608651686jpg__fix_374_244.jpeg)
![[CANALETTO] - VISENTINI, Antonio (1688-1782) da Giovanni Antonio CANAL (1697-1768, detto 'Il Canaletto')](/assets/image/picture_942589/d5137/zgtrjduunnjupfeci7dzswpkusgacicwjcgqkmtuysll-zqij7dvfgg1vbn2qy1596201885jpg__fix_374_244.jpeg)
![[CANALETTO] - VISENTINI, Antonio (1688-1782) da Giovanni Antonio CANAL (1697-1768, detto 'Il Canaletto')](https://veryimportantlot.com/assets/image/picture_942589/d5137/zgtrjduunnjupfeci7dzswpkusgacicwjcgqkmtuysll-zqij7dvfgg1vbn2qy1596201885jpg__fix_374_244.jpeg)
Giovanni Antonio Canal, commonly known as Canaletto, was an Italian painter from the Republic of Venice, considered an important member of the 18th-century Venetian school. Painter of city views or vedute, of Venice, Rome, and London, he also painted imaginary views (referred to as capricci), although the demarcation in his works between the real and the imaginary is never quite clearcut. He was further an important printmaker using the etching technique. In the period from 1746 to 1756 he worked in England where he painted many views of London and other sites including Warwick Castle and Alnwick Castle. He was highly successful in England, thanks to the British merchant and connoisseur Joseph "Consul" Smith, whose large collection of Canaletto's works was sold to King George III in 1762.
Francesco Lazzaro Guardi was an Italian painter, nobleman, and a member of the Venetian School. He is considered to be among the last practitioners, along with his brothers, of the classic Venetian school of painting.
In the early part of his career he collaborated with his older brother Gian Antonio in the production of religious paintings. After Gian Antonio's death in 1760, Francesco concentrated on vedute. The earliest of these show the influence of Canaletto, but he gradually adopted a looser style characterized by spirited brush-strokes and freely imagined architecture.
