Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 67 teost Luca Carlevaris meie kataloogis
Lühidalt
Galleriile on Luca Carlevaris kõige kuulsam teos Santa Maria della Carità (1703). Santi Giovanni e Paolo and the Scuola di San Marco (1704) ja The Rialto Bridge (1703) täidavad kolmikut, mille iga silm tunnistab. Kunstnii Luca Carlevaris 67 teose põhjal esitleb galeriis allpool 67 kõige kuulsumat, kus iga originaal on märgitud aastaga, muuseumiga ja kirjeldatud, mis teeb selle unikaalseks.
In this monochrome engraving, the Church of Santa Maria della Carità rises within the urban landscape of Venice, Italy. Created by Luca Carlevaris in 1703, the work captures the architectural presence of the church and its immediate surroundings. The scene focuses on the structural details of the building, presenting a clear view of the facade as it meets the street. Every line works to define the stone and the space…
This 1704 engraving offers a precise view of the Venetian cityscape, focusing on the architectural relationship between the Scuola di San Marco and the church of Santi Giovanni e Paolo. The composition captures the heavy, geometric presence of these structures, which were among the most significant monuments of the city. A sense of urban life is present in the arrangement of the buildings and the space between them, providing a…
The water of the Grand Canal ripples beneath the shadow of the Rialto Bridge, catching the light in a dance of silver and grey. In this detailed engraving, the air feels thick with the movement of a city that never rests. Pedestrians navigate the stone steps, their forms caught in mid-stride, while gondoliers maneuver their vessels through the narrow channels. The architecture rises with a mathematical precision, every arch and…
The oil on canvas depicts a dense crowd gathered in an outdoor setting, likely a public market or a significant social event. Figures are arranged in a crowded composition that emphasizes a mass of people rather than deep spatial recession. The scene is characterized by a variety of period clothing, including men in frock coats and powdered wigs, and women wearing voluminous gowns and headdresses. The perspective is slightly flattened,…
A close-up portrait emerges from a dark, ambiguous field of brown and black. The composition is tightly cropped, focusing on the contours of a head and a helmet. Visible brushstrokes and a rough, uneven texture suggest an aged surface, where light descends from above to define the planes of the face. The palette remains limited, relying on subtle hints of gold to break the heavy shadows. This approach creates a…
The composition centers on a grand palazzo, its facade defined by a rhythmic series of arched windows and balconies that command the viewer's attention. Through a calculated use of linear perspective, the artist creates an exaggerated sense of depth, pulling the eye toward the architectural heart of the scene. The scale of the building dominates the frame, establishing a sense of monumental permanence against the fleeting movements of the figures…
To gaze upon this magnificent veduta of Venice is to step directly into the golden heart of the eighteenth century. Luca Carlevaris has gifted us more than just a painting; he has preserved a moment—a vibrant, breathing tableau of life unfolding along the Grand Canal. The composition draws the eye deep into the scene, leading it from the immediate foreground where large vessels glide across the water, past the imposing…
The scene depicts the Molo in Venice, looking toward the Doge's Palace. In the foreground, the water occupies a significant portion of the lower frame, populated by various vessels. Some boats feature upright sails, while others sit low in the water near the stone edge. Numerous figures are distributed throughout the composition. Some individuals walk along the quay, while others are positioned in the mid-ground or near the boats. A…
In this 1710 oil on canvas, a male figure is captured in a three-quarter pose, seated with a relaxed yet commanding presence. He wears a blue coat accented with white trim, the texture of which is rendered through meticulous attention to the folds of the fabric and the delicate lace at his shirt. His expression is one of calm confidence, a quiet composure that defines the character of the subject.…
The sea churns with a violent energy, a restless expanse of water that seems to heave against the very canvas. Dark, heavy clouds hang low in a stormy sky, casting a somber mood over the entire scene. Waves crash with immense force against a rugged, rocky coastline, sending spray into the air as they collide with the shore. In the middle ground, the vastness of the ocean dominates, its surface…
The Molo, Venice, Looking West1709 · Metropolitan Museum of Art
12
Palazzo Coccina on the Grand Canal1703 · Bayerische Staatsbibliothek
13
Piazza San Marco, Venice1709 · Metropolitan Museum of Art
14
The Sea Custom House with San Giorgio Maggiore1700
15
The Molo with the Ducal Palace1710
16
The Sea Custom House with San Giorgio Maggiore (detail)1700
17
A Lady Seen from Behind1710
18
View of a River Port1710
19
A Lady Holding a Fan1710
20
A Lady Seen in Profile1710
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The Reception of Cardinal César d'Estrées1701 · Rijksmuseum
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The Arrival of the Earl of Manchester in Venice1710 · Birmingham Museum and Art Gallery
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A Lady Seen in Full Face1710
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A Lady Holding a Fan and a Mask1710
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A Hungarian Hussar1710
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A Lady Seen in Profile, Holding a Fan1710
27
A Man in a Dark Cloak1710
28
A Man Seen from Behind1710
29
A Seated Man Seen from Behind1710
30
Study of Two Gondolas and Figures1710 · Birmingham Museum and Art Gallery
31
The Upper Section of a Church with a Hexagonal Dome and Two Towers1710
32
A Gentleman Wearing a White Coat1710
33
A Man Wearing an Apron1710
34
A Gondolier1710
35
Two Studies of a Dog1710
36
A Man in a White Domino Seen from Behind1710
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A Man Wearing a Yellow Coat1710
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Study of a Man1710
39
Study of a Fish1710
40
A Man Wearing a Green Coat1710
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A Masked Lady1710
42
A Man Wearing a Red Jacket1710
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A Man, Perhaps a Gondolier, Seen from Behind1710
44
A Carpenter1710
45
A Man Wearing a Red Coat1710
46
A Man Wearing a Blue Cloak1710
47
A Lady Seen from Behind, Holding a Fan1710
48
A Man, Perhaps a Lawyer1710
49
Studies of Two Gentlemen1710
50
Three Studies of Costume1710
51
A Seated Man1710
52
Study of a Horse's Head1710
53
Three Studies of Men1710
54
Two Studies of Men1710
55
Two Costume Studies1710
56
View of the Wharf from the Bacino di San Marco1720
57
Piazza San Marco, Looking East1722
58
The Piazzetta, Venice1729 · The Ashmolean Museum of Art And Archaeology
59
The Bridge for the Feast of the Madonna della Salute1720 · Wadsworth Atheneum
60
A Gondola1710
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Seaport1690 · Ca' Zenobio
62
A Lawyer1710
63
A View of the Molo
64
The Dock Facing the Doge's PalaceSanssouci maali галеeria
65
Piazza San Marco with JugglersSchloss Sanssouci
66
St. Mark's Square with CharlatansSanssouci maali галеeria
67
The Wharf, Looking toward the Doge's PalaceSchloss Sanssouci
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Luca Carlevaris teosid | Selle nimekirja maalid |
|---|---|---|---|
 Rijksmuseum |
Amsterdam | 3 | The Rialto Bridge, The Reception of Cardinal César d'Estrées (detail), The Reception of Cardinal César d'Estrées |
 Metropolitan Museum of Art |
New York | 3 | The Bacino, Venice, with the Dogana and a Distant View of the Isola di San Giorgio, The Molo, Venice, Looking West, Piazza San Marco, Venice |
 Birmingham Museum and Art Gallery |
Birmingham | 2 | The Arrival of the Earl of Manchester in Venice, Study of Two Gondolas and Figures |
 Sanssouci maali галеeria |
Potsdam | 2 | The Dock Facing the Doge's Palace, St. Mark's Square with Charlatans |
 Schloss Sanssouci |
Potsdam | 2 | Piazza San Marco with Jugglers, The Wharf, Looking toward the Doge's Palace |
 Ashmolean Museum |
Oxford | 1 | The Piazzetta and the Library |
 Hermitage muuseum |
Stiiitlinburg | 1 | The Molo, Looking toward the Doge's Palace |
 Bayerische Staatsbibliothek |
München | 1 | Palazzo Coccina on the Grand Canal |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
The sea churns with a violent energy, a restless expanse of water that seems to heave against the very canvas. Dark, heavy clouds hang low in a stormy sky, casting a somber mood over the entire scene. Waves crash with immense force against a rugged, rocky coastline, sending spray into the air as they collide with the shore. In the middle ground, the vastness of the ocean dominates, its surface…
In this monochrome engraving, the Church of Santa Maria della Carità rises within the urban landscape of Venice, Italy. Created by Luca Carlevaris in 1703, the work captures the architectural presence of the church and its immediate surroundings. The scene focuses on the structural details of the building, presenting a clear view of the facade as it meets the street. Every line works to define the stone and the space…
A close-up portrait emerges from a dark, ambiguous field of brown and black. The composition is tightly cropped, focusing on the contours of a head and a helmet. Visible brushstrokes and a rough, uneven texture suggest an aged surface, where light descends from above to define the planes of the face. The palette remains limited, relying on subtle hints of gold to break the heavy shadows. This approach creates a…
The composition centers on a grand palazzo, its facade defined by a rhythmic series of arched windows and balconies that command the viewer's attention. Through a calculated use of linear perspective, the artist creates an exaggerated sense of depth, pulling the eye toward the architectural heart of the scene. The scale of the building dominates the frame, establishing a sense of monumental permanence against the fleeting movements of the figures…
Santa Maria della Carità (1703). Järgnevad Santi Giovanni e Paolo and the Scuola di San Marco (1704) ja The Rialto Bridge (1703).
40 aastat vanus: teos Santa Maria della Carità on pärinev aastast 1703 ning Luca Carlevaris sündis aastal 1663.
Santa Maria della Carità, Santi Giovanni e Paolo and the Scuola di San Marco, The Rialto Bridge, The Reception of Cardinal César d'Estrées (detail), A Gondola End View, The Piazzetta and the Library, The Bacino, Venice, with the Dogana and a Distant View of the Isola di San Giorgio, The Molo, Looking toward the Doge's Palace, A Gentleman ja Seascape. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 67 teost kunstnikult Luca Carlevaris, mis on pärinevad ajastust 1690 kuni 1729.
Peamiselt Rijksmuseum (Amsterdam), Metropolitan Museum of Art (New York) ja Birmingham Museum and Art Gallery (Birmingham) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1710s: 44 67 sellel lehel olevat teost on sellel perioodil loodud, მათart közül A Gondola End View.
Sellel lehel on kõige vanem teos Seascape (1690) ja kõige värskeim The Piazzetta, Venice (1729).
Man (18), Architecture (14) ja People (12), kogu selle lehekülje 67 teose kohta.
Oil, 28 teoseks 67 töödelt sellel lehel.
Baroque ja Venetian renaissance, seda lähtudes selle lehe originaalteostest.
The Rialto Bridge, The Reception of Cardinal César d'Estrées (detail) ja The Reception of Cardinal César d'Estrées: Rijksmuseum, Amsterdam säilitab 3 selle lehel olevat teost.
Luca Carlevaris (1663–1730) on nimi, mis võib olla vähem tuttav kui tema kaasaeglased Canaletto või Guardi, kuid ta seisab Wenetsia linnapildimaalide arengus võtmetähtsusega tegelasena. Itaalias Udines sündinud kunstnik kujunes Wenetsias üheks juhtivaks meistriks, kus ta veetis suure osa oma karjäärist, jättides endast endast pärandi, mis koosneb suurepäraselt detailsetest ja atmosfäärsetest vaadestest, mis tabavad linna elavuse ja peidetud ilu olemust. Tema looming sündib olulise sillana barokkaja draamatilise intensiivsuse ja hiljem tekkinud topograafilise realismi vahel, mõjutades sügavalt järgmisi Wenetsia kunstnikke.
Carlevaris saavutas esialgselt tunnust läbi oma seotuse Rooma presteesse Accademia di San Luca institutsiooniga, mis soostutas kunstilist uuendust. Seal avastas ta hollandi meistrite tehnikad ja filosoofia, eriti Caspar van Wittel, kelle pioneerlik töö vedute ehk detailsete linnapildide valdkonnas teenis olulise inspiratsioonina. Van Witle'i rõhuasetus perspektiivile, valgusele ja linnaruumi kujutamisele kujundas sügavalt Carlevarisi lähenemist Wenetsia maalile. See mõju on selgelt nähtav tema etsatside ja maalide seeriaDES, mis taastavad mööda uuritult linna keeruka arhitektuuri, puldiseid tänavu ja lummavaid veeteid.
Carlevaris eristus Wenetsias tõelise veduta žanri pioneerina. Erinevalt varasematest kujutlustest, mis keskendusid sageli suurepäraste monumentidele või idealiseeritud vaadetele, püüdis Carlevaris tabada Wenetsia elu igapäevast realiteeti – rahvarikast turgu, kitsaid umbikuid ja kanalite peegeldust. Tema maale iseloomustavad eriline tähelepanu detailidele, hoolikalt välja töötatud hooned ning valgusest ja varjust meistralus. Ta kasutas tehnikat nimega chiaroscuro, manipuleerides oskuslikult vastandeid valguse ja pimeduse vahel, et luua sügavust, dramaturgiat ja atmosfääri.
Tema kuulsaimad teosed, nagu "Piazzetta ja kirjandus" (1720), on sellest lähenemist suurepäraselt näitlikud. Maal kujutab elavat San Marco piazza, tabades mitte ainult selle arhitektuurilist hiilgusest, vaid ka seal toimuvat inimeste vastuolu – kaupmeeste, gondööride ja turistide puldist. Erilist tähelepanu väärib perspektiivi kasutamine, mis loob veenvat sügavustunnet ja tõmbab vaatajat sisse tegevuse keskmesse. Carlevarisi võime edastada nii füüsilist reaalsust kui ka Wenetsia emotsionaalset atmosféeri kinnitas tema mainet ületa ühe linna esikujulise maali kunstniku.
Carlevarisi kunstiline teekond oli vormitud keeruka mõjutite võrgustiku poolt. Nagu mainitud, pakkus Van Witle'i töö alusmalli tema lähenemisele linnapildimaalile. Kuid ta kogus inspiratsiooni ka Luca Signorellilt, kõrge renessanssi meistrist, kes oli tuntud oma draamatiliste freskode ja innovaatilise lühikestuse kasutamise poolest. Signorelli rõhuaset anatomilisele täpsusele ja dünaamilisele kompositsioonile on kättevõetav Carlevalt inimfiguurides, mis sageli kannavad liikumise ja elujõu tunnet.
Lisaks säilitas Carlevarisil tihedad sidemed oma aja teistega prominentsete Wenetsia kunstnikega, sealhulgas Canaletto ja Francesco Guardi. Need koostööd soostutasid ideede ja tehnikate vahetust, aidates arendada Wenetsia maali kunstikultuurit üldiselt. Urugaatakse, et need meistrid olid tema loomingust mõjutatud, eriti tema uuendusrikka perspektiivi ja valguse kasutamise poolt.
Luca Carlevarisi panus Wenetsia kunstile on vaieldamatu. Ta tõi veduta žanri uuele tasemele, kehtestades detailide, täpsuse ja atmosfäärilise kujutamise standardi, mida järgnesid arvukad kunstnikud. Tema mööda uuritud Wenetsia kujutused pakuvad vääramatut teavet linna ajalust, kultuurist ja igapäevasest elust. Tema töö on tänapäevalgi vaatajat lummav oma ilu, täpsuse ja möödunud ajastu kütkestava esituse poolest.
Lisaks oma kunstilistele saavutustele ulatub Carlevarisi pärand läbi tema mõju järgnevatele Wenetsia maalide põlvkondadele. Tema tehnikad ja lähenemismodellid teenisid alusena topograafilise maali arengule Venetsias, tagades, et tema visioon linnast jääks elama veel kaua pärast tema surma. Tema maalid on jäänud väärtustatud kunstiteosteks, pakkudes ainulaadset vaadet 18. sajandi Wenetsia hinge.
