Tuesday 13 February: 19.15–20.00

The work of 18th-century Venetian painter Giovanni Antonio Canal, better known as Canaletto, is hugely popular – so much so that it sometimes risks not being taken seriously. Yet Canaletto made a very special contribution to the history of British painting. In this fascinating documentary, made in conjunction with Dulwich Picture Gallery’s ‘Canaletto in England’ exhibition, Five’s art expert Tim Marlow narrates an insight into the work Canaletto created during a particularly fascinating time in his career.

When Canaletto came to the English capital in 1746 to make his fortune, London was the ‘shock city’ of Europe, rich from the spoils of war, slavery and England’s burgeoning empire. Canaletto had already met many of his clients in his native Venice, which had been an established stopover for the wealthy Grand Tourists from England. But while his arrival was welcomed by much of the Establishment, he was less well received by the British artists who knew of his work and viewed him as competition. “He brought no possible advantage for the locals,” confirms Charles Beddington, author of ‘Canaletto in England’. “Indeed he showed a number of them up as, effectively, forgers of his work.”

Tate Britain’s Martin Myrone explains that Canaletto’s ambitious sweeping views of London were depictions of what London wanted to become. While British artists like Hogarth were portraying the filth and squalor of street life, Canaletto’s vision showed a city poised to become the most powerful place on Earth. He was fascinated by the extensive development happening at the time and was keen to depict scenes such as the newly constructed Westminster Bridge. In these pictures “London looks like the metropolis of all time,” remarks Ian Dejardin, director of Dulwich Picture Gallery.

The exhibition includes an outstanding selection of Canaletto’s views of London, as well as depictions of country homes and castles, and views of Italy that the artist painted while in England. “His technique has an extraordinary luscious quality which gives a tactile, sensual character to buildings,” enthuses Desmond Shawe-Taylor, surveyor of the Queen’s Pictures. Art critic Brian Sewell is similarly admiring. “If you want someone to paint a place as it is, go and get a topographical painter,” he says. “If you want a beautiful painting that tells you more about the spirit of London, go to Canaletto.”

In 1755 Canaletto returned to Venice, where he died a virtual pauper. His agent and friend Consul Joseph Smith lived to a grand old age, having sold his entire collection – including more than 100 Canalettos – to King George III for the equivalent of £2.5m. These paintings, still in the Queen’s collection, are part of the true legacy of the great painter. It is undeniable that he offered a unique vision of London in the 18th century. “Sometimes the public is right,” insists Brian Sewell of the enduringly popular artist. “And it’s right about Canaletto.”