Casgliadau Celf Arlein

Dear John D. Morgan,

Thank you very much for your comment; I'll pass your enquiry on to our relevant curator, who will follow up by email.

Best wishes,

Marc
Digital Team

We have an original drawing for this painting authenticated by Dr Libby Horner if the Museum is interested

Hi there Bill,

Thanks for your comment. I am also a fan of Venetian architecture and so found it very interesting! After squinting a bit at the digital version, I must say the building adjacent does look Palladian. I will pass on your comments to the Art Department - it may be that the title is Brangwyn's own, it will be interesting to find out either way.

All the best

Sara

Digital Team

I was in the Museum the other day and realised that the buildings in Brangwyn's painting are Not St Mark's, but San Giorgio Maggiore! The campanile in the painting has three openings in the bell stage, pinnacles at the corners, and a conical steeple. St Mark's bell tower has four openings in the bell stage, no pinnacles, and a pyramidal steeple.
I lived in Venice for a while and visit regularly.
I have identified that the viewpoint for the painting is from what is now the Riva dei Partigiani near the Gardens where the Venice Biennale takes place. This was formerly the easternmost point of the city.
From here, you can see, as in the painting, the east end of San Giorgio, flanked by its little bell turrets, the dome of the church, and its campanile; between dome and campanile is a glimpse of the dome of the Salute church.
The easiest way to confirm this is to fly to Venice (on Google Earth!) and use the street view.
I think it's worth correcting the title since Brangwyn's choice of this unusual viewpoint shows his originality.
Most artists including Monet in his view of San Giorgio (also in the Museum) choose a viewpoint from opposite the front of the church.
I can supply photos and maps if you wish to follow this up,

Regards,
Bill Reid.