Drawing in Venice: Titian to Canaletto

Book explores the role of drawing in Venetian art from around 1500 to the establishment of the first Venetian academy in 1750, challenging the traditional narrative that Venetian artists prioritized color over drawing. The book, which accompanied a 2015–2016 exhibition at the Ashmolean Museum and the Uffizi, features over 100 drawings from major collections, showcasing works by artists like Titian, Tintoretto, and Canaletto.

It highlights how drawing was integral to Venetian artistic practice, tracing the evolution of techniques, such as Titian’s use of chalk on blue paper, which established a distinctive Venetian tonal style. The book includes four essays: Whistler’s overview of drawing practices, Giorgio Marini on drawing and printmaking, Marzia Faietti on Vasari’s misconceptions about Venetian drawing, and Jacqueline Thalmann on General John Guise’s collection. It also features 104 catalogue entries, a glossary of techniques, and artist biographies.

Whistler argues that Venetian artists valued disegno (drawing) as much as their Florentine counterparts, despite historical biases from critics like Vasari, who claimed Venetians neglected drawing for color. The book reveals the diversity of drawing purposes—from preparatory studies to autonomous artworks—and emphasizes the family workshop system’s role in artistic training before the academy’s founding. It also examines the influence of collectors and the market for drawings, showing how Venetian drawing evolved while maintaining continuity across centuries.