Ca d´Oro

José Moreno Carbonero

Moreno Carbonero, José

Málaga, 1860 - Madrid, 1942

Ca d´Oro, c. 1897

© Colección Carmen Thyssen-Bornemisza

Signed lower left: “J. Moreno Carbonero/Venecia”
Carmen Thyssen-Bornemisza Collection on loan to the Museo Carmen Thyssen Málaga

Oil on canvas

49,5 x 40 cm


Artwork history

  • Barcino Art Gallery, Barcelona, April 1995.

  • Carmen Thyssen-Bornemisza Collection.


De Canaletto a Kandinsky. Obras maestras de la Colección Carmen Thyssen-Bornemisza, Madrid, Museo Thyssen-Bornemisza, n. 31, p. 106.


Capolavori dalla Collezione di Carmen Thyssen-Bornemisza: 60º anniversario dell'apertura della Pinacotecca di Villa Favorita, Lugano, Villa Favorita, n. 42, p. 124.

1998 - 1999

Fortuny e la pittura preziosista espagnola. Collezione Carmen Thyssen-Bornemisza, Catania, Museo Civico Castello Ursino; Roma, Accademia di Spagna, n. 20, p. 60.


La pintura preciosista española de la Colección Carmen Thyssen-Bornemisza, Valencia, Sala de Exposiciones del Edificio del Reloj, Puerto de Valencia, n. 21, p. 76.

2004 - 2005

Pintura andaluza en la Colección Carmen Thyssen-Bornemisza, Madrid, Museo Thyssen-Bornemisza; Sevilla, Museo de Bellas Artes; Málaga, Palacio Episcopal. Sala de Exposiciones; Almería, Centro de Arte Museo de Almería, n. 69, p. 194 (sólo en Madrid, Sevilla y Málaga).

2005 - 2006

Pintura andaluza en la Colección Carmen Thyssen-Bornemisza, Murcia, Centro Cultural Las Claras. Fundación Cajamurcia, n. 34, p. 120, lám. p. 121.

  • -De Canaletto a Kandinsky. Obras maestras de la colección Carmen Thyssen-Bornemisza Museo Thyssen-Bornemisza. [Exhib. Cat. Museo Thyssen-Bornemisza]. Llorens Serra, Tomàs (ed.). Madrid, Fundación Colección Thyssen-Bornemisza, 1996 , n. 31, p. 106. [Sheet by José Luis Díez].

  • -Museo Carmen Thyssen Málaga. Colección. Catálogo razonado, Fundación Palacio de Villalón, Málaga, 2014. P. 278-279 (Sheet by José Luis Díez).

Expert report

Probably painted during a trip to Venice by the artist in 1897, this picture is a testimony to the still little known-of facet of Moreno Carbonero as a vedutista of the city of canals. On this occasion he depicted the famous Ca d’Oro, a luxurious palazzo built between 1422 and 1440 by Matteo Raventi, situated on the Grand Canal, and without a doubt one of the most beautiful civil constructions of the Venetian Gothic style.

Evident in this small canvas is the strong influence on Moreno Carbonero’s vedute of the landscape painter Martín Rico, a great master and undisputed expert on views of Venice in 19th-century Spanish painting. Indeed, the play of light from a radiant sun sharply highlighting the fragile arcades against the dark interior, the rigorously precise contours of the drawing, the inclusion of small figures to bring life to the monumental architecture and a number of more minor details such as the small flock of pigeons swooping to drink from the canal, are all features typical of Rico’s art. However, here Moreno Carbonero can be said to have interpreted them in his own style, using a more restrained palette and accentuating the passing of time by making the walls look appear and discoloured. This latter facet reflects Moreno Carbonero’s curious preoccupation with depicting the decrepitude and deterioration of buildings and objects from the past that is so evident in his large historical canvases.

José Luis Díez