About Bartolomeo Pedon
Venice 1665 – 1732 Venice
Our painter joined the Painter’s Guild of Venice, “La Fraglia dei Pittori di Venezia” only in 1716.
The largest part of his career he spent and lived in Padua, which was part of the Venetian Republic from 1405 until 1797.
In the early part of his career Pedon fell under the influence of Antonio Francesco Peruzzini (1646 or 46 – 1724), painting spectacular, fantasized panoramas.
Pedon was together with Marco Ricci (1676 – 1736) and Antonio Marini (1688 – 1725) a forerunner of the 18th century Venetian Vedutisti, the school of landscape painting. Their style and vision was very modern for those days.
Pedon must have met Marini in Padua in the period 1700 – 1702. As to Marco Ricci, the nephew of Sebastiano Ricci, he only returned to Venice after two stays in London in circa 1716/17. There seems to have been a strong artistic interaction between Pedon and Ricci, in so far that several paintings originally given to Ricci from the Museo Correr in Venice and from the Pinacoteca in Feltre have already in 1982 been re-attributed to Pedon.
About our painting
Pedon was criticized by his contemporaries for his bohemian lifestyle and for his peculiar character.
Typical of Pedon is his loose brushstroke, a strong chiaroscuro, the freedom in his chromatic choices, shifting from cold tones to warm red accents, the dynamism in his clouds and a strong decorative sense, almost reminding of theatre and opera scenography.
The figure staffage in the foreground is here more important, larger, than in most of his landscapes, adding a realistic touch to a well build composition, starting from the traditional repoussoir element, the tower, that directs our look into the painting. The treatment of this tower reminds strongly of earlier Flemish artists active in the Veneto at the very start of the 17th century: Joos de Momper II and Lodewijk Toeput. One should also not forget in this matter the influence of Dutch painting onto Pedon given through Marco Ricci, who had stopped in the Netherlands to study its landscape painting, on his way to London in 1708 and again in 1712.
In his certificate of 30 May 1998 Dario Succi speaks of a spectacular and animated harbour scene against the background of the Venetian Pre-Alps, which he dates between 1710 and 1720.
Why should you buy this painting?
Because this is the best, most elaborate composition by Pedon.
Because the attribution to Pedon was already confirmed by Dario Succi in his certificate of 30 May 1998, before the painting was cleaned and the monogram by Pedon uncovered.