Canella Carlo, View of the Church of Santa Maria della Pace in Milan
works associated
connected artists

1,852 - 1,855; oil on canvas
cm. 71 x 87,3
Signed bottom left: “C. Canella” On stretcher label with autograph inscription: “Veduta della Chiesa di S. Maria della Pace/ lungo i bastioni di Porta Tosa in Milano/dipinto di Carlo Canella domiciliato in/Milano N° 81”
Inventory: AH01564AFC
Provenance: 1990, antique market
Exibition: 1998-1999, Monza, n. 45

The painting entered the Caripolo Collection in 1990. It depicts a perspective view of the 15th-century church of S. Maria della Pace in Milan, in which the artist adopts an off-center viewpoint and high-contrast chiaroscuro, both characteristic of his mature output.

In the area in front of the church, whose architecture is rendered in fine, almost photographic detail, minuscule townspeople are engaged in various activities. A man on horseback is entering the street running alongside the church while, in the background, two small silhouetted figures are making their way towards the bright area skilfully sketched in the distance to give the scene perspective depth. This painting and the view of the Church of S. Fermo in Verona of 1838 (Milan, Galleria d’Arte Moderna) share a similar chromatism and perspective – one that the artist used repeatedly in the representation of various religious buildings.

The work reveals a profound knowledge of Giovanni Migliara’s repertoire of urban views, which is renewed here by elements from the landscapes by the artist’s well-known brother, Giuseppe Canella, as is evident from the naturalistic and atmospheric rendering of the sky and from the chiaroscuro transitions. Carlo Canella lived in Milan from 1842 on, making his home not far from the place represented here, at no. 81 Largo di Porta Tosa, as stated on the label on the back of the work and documented as from 1850 in the catalogues of the Esposizioni di Belli Arti di Brera. He participated in these exhibitions continually with a wide-ranging repertoire of views of Italian cities, portraits and interiors, in which the Milanese Cathedral occupies a prominent place, as attested by Milan Cathedral and the Corsia dei Servi in the Collection.

From November 2011, the work has been on view at the Gallerie d’Italia in Milan.

Sources:Archivio Storico Intesa Sanpaolo, Patrimonio Cariplo, Opere d’arte. Atti d’acquisto ex Cariplo. Fald. 2/3, pratica no. 879 R/830


Dipinti del XIX secolo, Asta 726, Finarte, Milano, 1990, n. 19, pp. 25-26, ill.;
Tesori d'arte delle banche lombarde, Associazione Bancaria Italiana, Milano, 1995, p. 230, ill. n. 425;
Giuseppe Fusari, Carlo Canella. La chiesa di Santa Maria della Pace a Milano, in Carlo Pirovano, a cura di, Luci e colori del vero. Genti e paesi nella pittura veneta e lombarda dalle collezioni Ambroveneta-Banca Intesa e Fondazione Cariplo, catalogo della mostra, Monza, Serrone della Villa Reale, 20 novembre 1998 - 24 gennaio 1999, Electa, Milano, 1998, n. 45, p. 107, ill.;
Paola Zatti, Carlo Canella. Veduta della chiesa di Santa Maria della Pace in Milano, in Sergio Rebora, a cura di, Le collezioni d’arte. L’Ottocento, Fondazione Cassa di Risparmio delle Provincie Lombarde, Milano, 1999, n. 39, pp. 103-105, ill.;
Flavia Pesci, Da Verona all’Europa. Giovanni, Giuseppe e Carlo Canella nella paesaggistica dell’Ottocento, in Sergio Marinelli, a cura di, L’Ottocento a Verona, Cariverona Banca, Verona, 2001, p. 73;
Sergio Rebora, L’immagine di Milano nella pittura dell’Ottocento. La pinacoteca della Fondazione Cariplo, in “Ca’ de Sass", n. 149-150, Cariplo, Milano, aprile-agosto 2001, p. 50;
Elena Lissoni, in Fernando Mazzocca, a cura di, Da Canova a Boccioni. Le collezioni della Fondazione Cariplo e di Intesa Sanpaolo, Skira, Milano, 2011, n. V.65, p. 201, ill.

Elena Lissoni
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