The Church of San Trovaso, Venice

Provenance

The artist [1803-1854], Paris; (his estate sale, Hôtel Drouot, Paris, 22-24 March 1855, 1st day, no. 49 [with NGA 2004.166.25]). (James Mackinnon, London); purchased March 1997 by Frank Anderson Trapp [1922-2005], Pittsburgh; gift 2004 to NGA.

The Church of San Trovaso, Venice

Joyant, Jules-Romain

c. 1830

Accession Number

2004.166.24

Medium

oil on paper on canvas

Dimensions

overall: 15.5 x 23.5 cm (6 1/8 x 9 1/4 in.) | framed: 32.5 x 40.6 x 5.1 cm (12 13/16 x 16 x 2 in.)

Classification

Painting

Museum

National Gallery of Art

Washington, D.C., United States

Credit Line

Gift of Frank Anderson Trapp

Tags

Painting Neoclassical & Romantic (1751–1850) Oil Painting Canvas French

Background & Context

Background Story

Jules-Romain Joyant (1804-1854) was a French painter known for the precisely observed architectural views of Venice that make him one of the most accomplished painters of the veduta tradition in the early 19th century. The Church of San Trovaso, Venice from c. 1830 depicts the Venetian church in the precisely observed, architectural manner that distinguishes Joyant's best Venetian views from the more atmospheric painting of his contemporaries. The c. 1830 date places this in Joyant's Italian period, when he was producing the precisely observed Venetian views that are his most accomplished works.

Cultural Impact

The Church of San Trovaso, Venice is important in the history of the veduta tradition because it demonstrates the precisely observed, architectural manner that Joyant brought to Venetian views as one of the most accomplished painters of the veduta tradition in the early 19th century. Joyant's precisely observed Venetian views—combining architectural accuracy with atmospheric effect—represent an important continuation of the veduta tradition that Canaletto had established in the 18th century.

Why It Matters

The Church of San Trovaso, Venice is Joyant's architectural veduta: the Venetian church rendered in the precisely observed manner of one of the most accomplished veduta painters of the early 19th century. The c. 1830 painting shows the continuation of the Canaletto veduta tradition—architectural accuracy combined with atmospheric effect.