Cavaleri Lodovico, Canal at Chioggia
works associated
connected artists

1,910; oil on canvas
cm. 65 x 99
Signed and dated bottom right: “L. Cavaleri/ 1910”; on the back, on the stretcher, in the centre, paper label with stamped number “96”, on the frame, top left, paper label with stamped number “25”
Inventory: AH02065AFC
Provenance: Rome, Istituto Bancario Italiano (IBI) Collection (until 1991)

Still in its original frame this painting, which comes from the Istituto Bancario Italiano (IBI) Collection, reprises a theme that became extremely popular in the Lombard Naturalism milieu through the work of Filippo Carcano, Mosè Bianchi and Leonardo Bazzaro. Following in this tradition, Cavaleri drew inspiration from the lagoon views between Venice and Chioggia. However, like his peer Vettore Zanetti Zilla, whose Woman’s House is in the Cariplo Collection, he developed his own style of  landscape painting, modelling himself on the northern European works that he had been able to study, from the beginning of the century, at the various editions of the Venice Biennale. Rather than the faithful reproduction of elements observed from life it is, in fact, the suggestion of light that attracts the painter, which he translates into a pictorial sign with a strong graphic slant, which makes this work completely different from some similar views by Bazzaro, such as The Blessing and Fire! Fire!. Indeed, in Cavaleri’s painting long brushstrokes and streaks of colour made to undulate with the help of a gouge, accentuate the golden reflections in the water and the vibrant sky at sunset. Moreover, the top of a mooring post in the foreground is struck by the light from a navigation lamp, which has been omitted from the composition to further accentuate the pure effect of light. After completing the canvas, the artist applied transparent layers of red on the sail of a boat to the right, and the wall of the building towards the centre, also picking out the reflections in the water with this colour. Here, as in subsequent works like Morning in Liguria, Cavaleri prefers a dark range of colours and a crepuscular subject, which in 1910 – the year he executed the painting in the Cariplo Collection – he reprised in two canvases shown in Venice, entitled Marosi and Nocturnes, and in The Lagoon at Dawn and Moonlight Evening, shown that same year in Rome at the 80th Esposizione Internazionale di Belle Arti della Società Amatori e Cultori di Belle Arti. It should also be pointed out that in 1910 Cavaleri participated in the Permanente and Brera exhibitions in Milan, and the International Centenary Exhibition in Buenos Aires where he displayed the painting Setting Sun.

Sources:Archivio Fondazione Cariplo, Pratiche Ex IBI. Opere d’arte. Fald. 2/2, scheda carico opere d’arte IBI no. 657


Sergio Rebora, Ludovico Cavaleri, Canale a Chioggia, in Sergio Rebora, a cura di, Le collezioni d’arte. L’Ottocento, Fondazione Cassa di Risparmio delle Provincie Lombarde, Milano, 1999, n. 50, pp. 120-121, ill. p. 120

Laura Casone
Credits © Copyright 2009 by Fondazione Cariplo. Tutti i diritti riservati.
Esclusivamente i contenuti della collezione online di sono disponibili secondo una licenza CC BY-SA