This teacher and uncle of Bernardo Bellotto painted himself seated in a work commissioned by Thomas Hollis, which depicts Old Walton Bridge, and he showed the reconstruction of Campo San Vidal in his The Stonemason's Yard.
A two volume study of this man's works by André Corboz argues that this man is not "photographic" and asserts that his subjects were "imaginary." He was strongly influenced by Luca Carlevarijs, while one of his students worked alongside Marcello Bacciarelli in creating paintings for the Royal Castle of Warsaw under the commission of Stanislaw August Poniatowski. One work, part of a group of this man's paintings owned by the Earl of Lovelace, focuses on a white Corinthian column with an escutcheon surmounted by the statue of a saint in front of a bridge, exemplifying a characteristic mixing of English and Italianate styles. This teacher and uncle of Bernardo Bellotto painted himself seated in a work commissioned by Thomas Hollis, which depicts Old Walton Bridge, and he showed the reconstruction of Campo San Vidal in his The Stonemason's Yard. Sale of his paintings was facilitated by the British Consul Joseph Smith, and his paintings depict places like the Piazzetta, the Rialto Bridge, and the San Giorgio Maggiore. For 10 points, name this painter of Venetian vedute.
A two volume study of this man's works by André Corboz argues that this man is not "photographic" and asserts that his subjects were "imaginary."
{Canaletto} or {Giovanni Antonio Canal}