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Jane Vivian19th century oil painting of the Dogana & Santa Maria della Salute, VeniceC1880
C1880
About the Item
Jane Vivian
British, (fl. 1869-1890)
The Punta della Dogana with Santa Maria della Salute from the Molo, Venice
Oil on canvas, indistinctly signed
Image size: 17.25 inches x 31.25 inches
Size including frame: 22.75 inches x 36.75 inches
A lovely painting of the Punta della Dogana with Santa Maria della Salute from the Molo, Venice by Jane Vivian. Figures can be seen parading along the famous wharf amongst the traders, whilst canal boats and gondolas wait by the waterfront. The column shown is that of St Theodore and is one of two that mark the entrance used by officials and distinguished visitors to Venice.
Jane Vivian was a landscape artist best known for her Venetian scenes. Few biographical details exist, which has led to some sources listing her as the daughter of John Victor de Fleury (fl.1847-1868), a painter of landscapes and coastal scenes who has been mistakenly named James Vivian de Fleury. However, there is strong evidence to suggest she was actually connected to the Meadows family of artists and that Vivian was possibly a pseudonym of one of the children of James Edwin Meadows (1828-1893) or perhaps Meadows himself. His daughters Alice and Julia Anne Meadows were both listed as artists on the 1871 census.
It is known that she lived in London and began her exhibiting career in 1869 at the Royal Society of British Artists. She made her debut at the Royal Birmingham Society of Artists a year later in 1870. Her address at the time was listed as Essex Villa, The Avenue, Acton which was also where Meadows and his family lived during this period. She was a frequent exhibitor at the Bristol Fine Art Academy from 1871 and also exhibited at the Royal Hibernian Academy, Royal Cornwall Polytechnic Society, Falmouth, York Fine Art Exhibition and other exhibitions in Dundee, Sheffield and Worcester. She was a highly gifted artist working in both oils and watercolours. Her paintings received wide critical acclaim and were described as having a “great depth of tone” and “a sunniness and warmth about it which is perfectly captivating”.
By 1876, Vivian was living at Gainsborough House, Aldine Street, Shepherd’s Bush Green which again was also the same address as Meadows. Assuming she was a family member, she was probably taught by her father and may well have travelled with him and his brother Arthur Joseph Meadows (1843-1907)to Europe, spending time in Italy especially Venice where she produced many views of the famous city. She continued to exhibit at the Bristol Fine Art Academy until around 1892.
Vivian also painted riverscapes and lake views of other European cities such as Bruges and Rouen, however it is for her Venetian scenes that she is perhaps best known. A number of her works can be found at the Shipley Art Gallery, Newstead Abbey, Bangor, Museum of Croydon and the Haworth Art Gallery.
Presentation: The painting is housed in a new, English made gilt frame which is in excellent condition.
Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having been professionally cleaned, restored and revarnished.
© Benton Fine Art
- Creator:
- Creation Year:C1880
- Dimensions:Height: 22.75 in (57.79 cm)Width: 36.75 in (93.35 cm)Depth: 2.75 in (6.99 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Nr Broadway, GB
- Reference Number:1stDibs: LU156212943332
Jane Vivian
Jane Vivian was a British landscape painter who lived in London. She was known particularly for her views of Venice and exhibited several works at the Royal Society of British Artists, including views of Venice, Bruges and Rouen. She also exhibited at several provincial galleries, including the Royal Society of Artists, Birmingham, the Walker Art Gallery in Liverpool, Manchester Art Gallery and the Royal Hibernian Academy. She came from a dynasty of topographical artists who worked and lived in England. Vivian first exhibited a view of Venice from a London address in 1869 and continued to exhibit mainly Italian views until 1877. Around 1880, she seems to have moved, as did her father, as their next exhibiting address was Islington Row, Birmingham, where she continued to exhibit work until 1888. The name J.V. de Fleury reappears at the Birmingham Society exhibitions in 1892 and 1893. Her work shows attention to detail that is a reflection of her father's technique, but there is a lightness of touch and softness in the palate, which is considered even finer.
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