Roofs and Chimneys in Venice 1735

Editor: Here we have Canaletto’s “Roofs and Chimneys in Venice,” created around 1735 using charcoal on paper. It’s quite a departure from his typical grand scenes, isn't it? The composition feels almost claustrophobic, with such a focus on the mundane details of the buildings. How do you interpret this work, especially in the context of Venetian painting at the time? Curator: That feeling of claustrophobia is key. Canaletto was famous for his *vedute*, detailed cityscapes commissioned by wealthy tourists, effectively branding Venice as a destination. This drawing, however, shows a less glamorous side. He reduces Venice to a series of surfaces, focusing on how lived space operates away from the Grand Canal. Consider how this perspective reflects Venice’s internal politics: a crumbling oligarchy trying to maintain its public image. Editor: So you're suggesting this isn’t just an innocent sketch, but a commentary on Venice itself? Curator: Precisely. The "authentic" Venice celebrated by its painter was carefully curated to boost it as tourist heaven, a marketing ploy, but if we inspect his personal artistic endeavor we might witness social and political issues from inside-out, that were otherwise intended to be obfuscated. What's included, what's excluded and who dictates that matters. Do you find yourself questioning Venice's celebrated cultural status while contemplating on his work? Editor: I do, definitely. Thinking about the selection of what to show – and what not to – sheds a whole new light on it. This transforms my understanding not only of this drawing but the politics of cityscapes in general. Curator: Indeed, it speaks volumes about artistic choices as political acts, challenging the accepted narratives. Seeing through that lens enriches how we view not only art but also urban environments as constructed entities. Editor: Absolutely, thank you for this analysis. I see now a work that speaks louder than its appearance lets on.