Who painted Views of Venice: The Molo and S. M. Della Salute?

Views of Venice: The Molo and S. M. Della Salute was painted by Michele Marieschi in 1741.

Where can I see Views of Venice: The Molo and S. M. Della Salute?

Views of Venice: The Molo and S. M. Della Salute is held by Cleveland Museum of Art.

What movement is Views of Venice: The Molo and S. M. Della Salute?

Views of Venice: The Molo and S. M. Della Salute is associated with Baroque.

Artwork

Views of Venice: The Molo and S. M. Della Salute

Michele Marieschi , 1741

Views of Venice: The Molo and S. M. Della Salute is a print by the Baroque artist Michele Marieschi. It dates from 1741 and is held in the collection of the Cleveland Museum of Art.

About this work

Overview

Created in 1741, this print by Michele Marieschi captures a bustling stretch of Venice’s waterfront. The composition concentrates on the Molo promenade and the basilica of Santa Maria della Salute, presenting a densely populated scene where ships, gondolas, and architectural landmarks converge under a storm‑laden sky.

Subject & Meaning

The image foregrounds a variety of vessels—large merchant ships moored beside a bridge and numerous gondolas navigating the canal—illustrating Venice’s reliance on waterborne traffic. The towering white basilica, with its columned façade and arched windows, dominates the center, while a spired building beyond a curved bridge recedes, emphasizing the city’s intertwining of sacred and civic space.

Technique & Style

Executed as a print, Marieschi employs fine line work and tonal shading to convey atmospheric depth and the texture of rain‑splashed clouds. The crowded arrangement of architectural forms and boats reflects the Baroque penchant for dynamic composition and dramatic contrast, while the precise rendering of structural details underscores his reputation as a vedutista.

History & Provenance

Michele Marieschi, an early‑18th‑century Venetian painter and engraver, is best known for his cityscapes that blend topographical accuracy with theatrical flair. This particular work entered the Cleveland Museum of Art’s collection, where it serves as a representative example of his printed output alongside his painted vedute and stage‑design studies.