Veduta

A vista ( veduta Italian, view ',' view ') is in the visual arts (painting, graphics) the realistic representation of a landscape or a cityscape. According to the theory of art of the time, the aim is to recognition, all other aspects of image design ( light and shadow, colors, etc. ) are less important. In the history of garden design is often the single, described by one or more specified points of view observable garden scenery as vista.

Development of the genre

The genre of view painting is attributed to the landscape painting. Usually the term is used as a synonym for Cityscape. Proper way but he must, in accordance with its Italian etymology, all renditions of the landscape motifs in quasi- realistic shape, such as include the often painted in the 18th century views of the waterfalls of Tivoli. In research, the 17th century is generally specified as a time of origin. However, one can ask whether the beginning of an artistic interest in urban portraits is to be set not far earlier. The woodcuts of the Pilgrims and travel reports of the middle 15th century - as Reuwichs city views of Venice or Jerusalem in Bernhard von Breidenbach " journey to the Holy Land" - perhaps ask not constitute a limiting case, since there tend to focus more on documentary rather than artistic representation lies. However, security can be found numerous paintings, which have the appearance of urban architecture on the topic in Venetian painting around 1500. The most prominent example is that of Gentile Bellini designed for the Scuola San Giovanni Evangelista Cross relics cycle ( 1495 ). He is now in the Accademia, Venice. Bellini's " procession on St. Mark's Place" ( 1495 ) Vittore Carpaccio or "Miracle of the Relic of the Holy Cross " (1494 ) to be reliably denotes at least as a precursor of view painting. Purpose of such city views was to perpetuate important monuments of historical or religious significance or special celebrations ( processions, Erbhuldigungen etc.). The engraving allowed since the Baroque period prevalence.

Decisive for the tremendous success of this genre was the Italy - Tourism of the English aristocracy, which reached its peak in the 18th century; it had become customary, as a " souvenir " take from the Grand Tour to Italy pictures of ancient Rome or the northern Italian cities you visited, to England. Bernardo Bellotto and Giovanni Battista Piranesi, however, went on this concept: While Piranesi increasingly painted fantastically ancient capriccio, the witness Bellotto's painting more and more of his employment with the contemporary reality.

Composition

A vista depicts a panorama of the city, usually overlooking a river, a canal, a square or a street, the linear perspective draw the eye into the depths. To distinguish them are the " urban interior " and those images that have the interface between town and country on the topic and the two subjects vista and landscape connect (see urban landscape ). Vedutas often have something prospectus or stage-like. They document the one hand, the most attractive and charming sides of a landscape, a group of buildings, etc., in the sense of a "View" - a feature that photography and postcard took over later - want but also as an image of himself as paintings, art work on the function will also be document perceived.

Representatives of view painting

As "Father of modern vista " ( Andrzej Rottermund 2005) applies the Dutch- Italian painter Gaspar van Wittel ( Vanvitelli ), which the painter's trade learned in Holland, but mostly spent his life in Rome, where he conveyed his experience to the Italian champions. Through him, the camera obscura introduced as a working unit in the Italian view painting, which is also the undisputed main representatives of the Venetian school of Giovanni Antonio Canal view painting called Canaletto, Bernardo Bellotto called Canaletto made ​​use of, Francesco Guardi and Michele Marie ski. Among the most outstanding representatives of the view painting also includes Giovanni Battista Piranesi, Domenico Quaglio, and Rudolf Wiegmann. As one of the most important landscape painter of the 19th century is considered the Scotsman David Roberts.

Bernardo Bellotto called Canaletto: Verona seen from the new bridge etsch up

Gaspar van Wittel: Castel Sant'Angelo from the South

Francesco Guardi: The Doge's Palace in Venice

Giovanni Paolo Pannini: Colosseum and the Arch of Emperor Constantine in Rome