After achieving fame for his sweeping vistas of the American West and Southwest, Moran began traveling to Venice in the late 1880s, painting composite views on canvas and paper of the alluring city and its lagoon, which found a steady and appreciative audience. As demonstrated in this characteristically luminous example, Moran avoids topographical specificity by condensing the setting so that the various monuments—notably the tower in Piazza San Marco and the white-domed church of Santa Maria della Salute—are all visible within the same dreamy composition, evoking Venice’s evanescent beauty as if seen from the low perspective of a floating gondola.
John Wilmerding et al., American art in the Princeton University Art Museum: volume 1: drawings and watercolors,(Princeton: Princeton University Art Museum; New Haven, CT; London: Yale University Press, 2004).
Phyllis Braff, Thomas Moran, a search for the scenic: his landscape paintings of the American West, East Hampton, and Venice: an exhibition inaugurating Guild Hall's 50th anniversary year, Guild Hall Museum, East Hampton, N.Y., November 29th 1980-January 25th 1981, (East Hampton, NY: Guild Hall Museum, 1980).
Joseph R. Goldyne, J. M. W. Turner: works on paper from American collections: [exhibition]: University Art Museum, Berkeley, 30 September-November 23, 1975, (Berkeley, CA: University Art Museum, 1975).
"Acquisitions 1969", Record of the Art Museum, Princeton University 29, no. 1 (1970): p. 16-27.
West to Wesselmann: American Drawings and Watercolors from the Princeton University Art Museum (Saturday, October 16, 2004 - Sunday, July 23, 2006)