Rio San Trovaso, Venice, 1903

Architecture

Martin Rico Ortega is one of Spain’s landscape painters, the admiration for whom spanned internationally. His works are praised constantly by the great European and American collectors such as Henry Clay Frick, William T, Collis Potter Huntington, and Walters. Martin Rico Ortega presented his artworks in salons and universal expositions that greatly appreciated his type of art. His major interest lies in the outdoor painting of structures and working from nature directly, instead of confining his creativity in a studio.

He combined styles of academic skills with impressionistic devotion together with the effects of light. Consequently, he developed almost realistic looking artifacts. In his early years, Martin Rico studied in Madrid in the Royal Academy of San Fernando, where he disregarded most of the academic standards. Eventually, he received a prestigious scholarship to relocate to Paris in 1862 and study the approaches to modern landscape painting. Outside of Spain, Rico has been very active in life and art. He painted enthusiastic urban landscapes of the famous Spanish cities, the Marne Rivers, countless scenes of the Seine, and the fascinating surroundings of Paris. However, he is famous for the painting of Venice, a city known for its canals, buildings surrounded by water, and unusual means of transportation.

Rico painted the elements of architecture that included exteriors, buildings, terraces, and courtyards. He achieved the desired painting in a small setup that had the same style as a miniaturist. He painted the city’s happy daily routine life, the people living in the Venice environment. The painter showed women walking around the city, and gondolas floating peacefully in the rivers. He pictured a woman bathing her child and a man feeding birds, which are part of the city’s life. The paint shows the river’s spanning width in the foreground of Ponte di San Trovaso and the background is the Ponte Del Maravegie. The artist depicted the canal running through the friendly neighborhood of Dorsoduro connecting the Grand Canal with river Ognissanti. At the same time, the painting does not have the eighth century San Trovaso church in the composition. The art critics constantly acclaim details and emotions of Rico’s work, as his approach seems to document twentieth-century daily life in Venice.

The buildings represented in the painting show the architectural Venetian-Gothic style. The style appears in the buildings along the Grand Canal. The construction began in the fifteenth-century and included the magnificent Ca d’Oro, alias the House of Gold. The buildings and houses were made using the Renaissance and Classical styles as a touch base of the sixteenth-century architecture. Numerous structures included white veneers as opposed to shaded types, as well as openings touted round as opposed to sharp curves. The design of the Palazzo Grimani and Palazzo Dario incorporates a wide variety of styles to create its unique view. The study of Raman spectroscopy based plasters and mortars from a prehistoric period. The Romans have enabled the application of the techniques in the nondestructive analysis of substrates present in decorative work. The characteristic features resultant from Raman spectroscopy of the materials provided insights into the ancient technologies of their application. Moreover, the molecular features facilitate the assessment of the factors that are relevant to the conservation of buildings and artworks.

The main purpose of the architecture is designing and building in concrete to provide for the basic human needs, which is shelter. At the same time, an architecture structure also contains information that can be evaluated by future generations. The communicated data in architecture defines the internal structure of the city, the people, and the time period (Passini 9). The building construction provides information about the history of the individuals, who built them or observed the process (Forty 3). Architectural elements convey different emotions, feelings, and experiences. Architecture communicates various historical, cultural, and traditional aspects over the years (Forty 13). The issue includes design, character, context, form, flexibility, space, structure, role, history, formality, memory, nature, order, simplicity, truth, transparency, variety, and users.

Architecture in paintings investigates the approaches both in design and paintings. Instead of creating an imaginary phenomenon, the design builds the picture. The approach structures the paintings at the initial stage of planning. Therefore, painters create the architectural framework first by setting a composition through the construction of space and dimension. Then, they place figures, technical evidence of underdrawings to create a unified perception and comprehensive demonstration.

The painting investigates the courses, in which the internal systems make the view of pictorial space. The path, in which the architecture visually enters the painting and possesses the view largely relies upon the engineering equipment, edges, and gateways. Individual engineering systems were favored in the virtual structures available to viewers. The fa’ades were opened up, the benefits of the loggia or porch were investigated, and the overall comfort of the building was appreciated. Thus, the painted design has the aim of creating a passage to the picture. It followed the intentions and purposes of the painter to present the architecture from a different point of view in a two-dimensional approach.

According to Amanda Lillie (n.p.), Fantasy Architecture investigates the difference between the painters and drafter by showing the force of the artist to make something that would never manufacture. Unrestrained structures created an extraordinary request for craftsmen, benefactors, and engineers to shift from the traditional to a different approach. The tasteful standard was permitted to run over common sense in a way that could never be conceivable in the original architectural structures. The segment resulted in the compositional yearning. It showed unachievably intricate or fundamentally inconceivable outlines, dream-like hues, and introduced unique materials, including bronze capitals or precious shaded marbles. The overall result corresponded to the creation of a new branch of unusual adornment in the artwork.