  About the Artwork
  
  
  Bellotto followed in the footsteps of his uncle, Canaletto, as one of Europe’s leading painters of cityscapes. His international career took him to various parts of the Italian peninsula, as well as to Saxony, Bohemia, and eventually to Poland, where he settled. This view of some of the most famous and beloved monuments of Rome, including the Castel Sant'Angelo and the dome of Saint Peter's, belongs to the early production of the artist. While it still betrays the influence of his uncle, Canaletto, it also shows some of Bellotto's own style, in particular a sense of immediacy.
  
  
  Title
  View of the Tiber in Rome with the Castel Sant&#039;Angelo
  
  
  Artwork Date
  1743 or 1744
  
  Artist
  Bernardo Bellotto
  
  
  
  Life Dates
  1722-1780
  
  
  
  
  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  Italian
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
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  Medium
  Oil on canvas
  
  
  Dimensions
  Unframed: 34 3/8 × 58 3/8 inches (87.3 × 148.3 cm)
  Framed: 45 1/2 × 69 3/4 × 4 inches (115.6 × 177.2 × 10.2 cm)
  
  
  Classification
  Paintings
  
  
  Department
  European Painting
  
  
  Credit
  Founders Society Purchase with funds from Mr. and Mrs. Edgar B. Whitcomb
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  40.166
  
  
  Copyright
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