The painters’view of London

The pictorial field of vision

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The art of cityscape combines the selection of a point of view affording a well-composed vista with the sense of multiple directions and breadth of field proper to a metropolis.

It evolved in the 18th century with the successive pictorial practices which served to represent the field of vision :

Paintings show views of London from numerous complementary viewpoints, as shown on a map.

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Central sections of Rocque’s map (1746)

Near the thumbnails of cityscapes, an arrow indicates the direction of the view.

Click on the thumbnail to go to the screen on the painting.
Canaletto View from Richmond HouseCanaletto View from Richmond HouseCanaletto View from Richmond HouseCanaletto Westminster BridgeCanaletto Westminster BridgeCanaletto Westminster BridgeCanaletto Westminster BridgeCanaletto, Sandby View from Somerset HouseCanaletto, Sandby View from Somerset HouseCanaletto, Sandby View from Somerset HouseCanaletto, Sandby View from Somerset HouseCanaletto, Sandby View from Somerset HouseGirtin PanoramaGirtin PanoramaGirtin PanoramaGirtin PanoramaHogarth Marriage à la ModeHogarth Marriage à la ModeHogarth Marriage à la ModeHogarth MorningHogarth MorningHogarth MorningHogarth The Rake’s ProgressHogarth The Rake’s ProgressHogarth The Rake’s ProgressMarlow London BridgeMarlow London BridgeMarlow The FrostMarlow The FrostScott London BridgeScott London BridgeScott London BridgeScott Westminster BridgeScott Westminster BridgeScott Westminster Bridge
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London views reveal the sense of cityscape, above all in the views of bridges.

In the mid 18th century, the construction of Westminster Bridge, the second one after London Bridge, was represented by Canaletto and by Scott, whereas old London Bridge inspired Hogarth and Marlow who made views of it under unusual angles.

Several painters made companion pictures of the two bridges, the erection of the latter having emphasised the symmetry of the two cities of London and Westminster. Canaletto et Sandby painted views in both these directions from a single viewpoint on the quay, whereas Scott represented the two bridges each from a distinct point.

The later Blackfriars Bridge also became a place of interest : it is a focal point of Girtin’s panorama dating from the early 19th century.

 

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