Venice from London – London from Venice
2024
Two framed opposing postcards.
20,5 x 40,8 cm.
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The piece explores the relationship between the landscapes we inhabit and our perception of territory. Linked to the series Local Color is a Foreign Invention,
it juxtaposes
two artworks: Canaletto’s London: The Thames from Somerset House Terrace towards
Westminster (1750-51) and Turner’s Venice from the Giudecca (1840).
Each painting reflects a view foreign to the city where each of the artists were born, highlighting how environments shape our views.
More Info
Venice from London – London from Venice (2024) is part of a series of works in which I explore the relationship between the landscapes we inhabit and our perception of territory. This project is connected to my series Local Color is a Foreign Invention studying the nuances of the sky in different geographical areas based on historical artistic representations, linking diverse artists and periods, and addressing themes such as identity, colonialism, and envirinment.
The piece is a juxtaposition of two images within the same frame, creating a visual dialogue between two geographically displaced views. On the left, a veduta by the Italian painter Canaletto, created during his stay in England in the mid-18th century: London: The Thames from Somerset House Terrace towards Westminster (1750-51). On the right, a view painted by the British artist Joseph Mallord William Turner nearly a century later: Venice from the Giudecca (1840). The visual displacement is twofold. Each painting reflects the city of the “other,” although both retain elements of the native landscape from which each artist originates.
Venice from London – London from Venice (2024) is part of a series of works in which I explore the relationship between the landscapes we inhabit and our perception of territory. This project is connected to my series Local Color is a Foreign Invention studying the nuances of the sky in different geographical areas based on historical artistic representations, linking diverse artists and periods, and addressing themes such as identity, colonialism, and envirinment.
The piece is a juxtaposition of two images within the same frame, creating a visual dialogue between two geographically displaced views. On the left, a veduta by the Italian painter Canaletto, created during his stay in England in the mid-18th century: London: The Thames from Somerset House Terrace towards Westminster (1750-51). On the right, a view painted by the British artist Joseph Mallord William Turner nearly a century later: Venice from the Giudecca (1840). The visual displacement is twofold. Each painting reflects the city of the “other,” although both retain elements of the native landscape from which each artist originates.
Credits
Venice from London – London from Venice (2024). 20,5 x 40,8 cm.
Detail.
Canaletto (Giovanni Giovanni Antonio Canal), 1697–1768. London: The Thames from Somerset House Terrace towards Westminster (1750-1). Royal Collection of the United Kingdom.
Joseph Mallord William Turner, 1697–1768. Venice from the Giudecca (1755-1851). Victoria & Albert Museum.
Venice from London – London from Venice (2024). 20,5 x 40,8 cm.
Detail.
Canaletto (Giovanni Giovanni Antonio Canal), 1697–1768. London: The Thames from Somerset House Terrace towards Westminster (1750-1). Royal Collection of the United Kingdom.
Joseph Mallord William Turner, 1697–1768. Venice from the Giudecca (1755-1851). Victoria & Albert Museum.