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CANEVA, GIACOMO (1813–1865)
Italian photographer and painter
Giacomo Caneva was born at Padua in 1813. In 1834
he went to Venice to attend the Accademia di Belle
Arti, where, in particular, he followed the School of the
Perspective of Tranquillo Orsi. Here he qualifi ed as a
“perspective painter,” and widened his knowledge of the
camera obscura, which he used in his paintings. Some
of his paintings survive from this period: two canvases
painted at Rome, which today are in the Museo Civico
at Padua (a view of the Pantheon, commissioned by
Jacopo Treves in 1843, and a view of the temple of Vesta
in 1844), and a canvas in a private collection represent-
ing the Prato della Valle of Padua. He went to Rome
to paint just before daguerreotypes came out. In 1840
and 1841 he superintended the works carried out at the
Villa Torlonia after the project of Giuseppe Jappelli, and
obtained a modest success. A couple of contemporary
chronicles attest his presence at Rome and mention him
as being ingenious, enterprising, and interested in new
things (N. Pietrucci, 1858; N. Roncalli, 1844–1870).
On the 14th of February 1847 he went up in a balloon
with François Arban, who had come to Rome that year
after making several ascents in Italy and other parts of
Europe. In a letter to friends Caneva recounts his ascent
and gives a marvellous description of the panorama
of Rome and the surrounding countryside (A. Ganot,
1864). He went up again two months latter from the Villa
Borghese with Arban and the Venetian painter Ippolito
Caffi. His innate inclination for novelty awakened an
interest in photography immediately after its invention.
He began his photographic career as a daguerreotypist,
according to notes left by his friend Tommaso Cuccioni,
who later became a photographer himself. However, as
things stand at present, his daguerreotypes cannot be in-
dividualized. He is recorded in the famous list of artists’
addresses which was begun at the Caffè Greco in 1845:
“G. Caneva, Painter and Photographer, Via Sistina 100,”
and then, “Via del Corso 446, near S. Carlo.”
Quite early on, Caneva combined practice with
theory, and in 1855 wrote “Della fotografi a, trattato
pratico di Giacomo Caneva, Pittore prospettico” ( A
practical Treatise on Photography by Giacomo Caneva,
Perspective Painter”), in which he reveals a detailed
knowledge of techniques such as the calotype process.
The daguerreotype process now seemed to him to be
obsolete, indeed superseded by the superior calotype
process, by which many positive copies could be
printed from just one negative. Paper photography is
then described in all its variations: the method of W.H.
Fox-Talbot, the improvements of Blanquart-Evrard,
Gustave Le Gray, Humbert de Molard, Ghillon Saguez,
and those of S.Geoffray. The greater part of Caneva’s
photographs that have survived are calotypes. In Italy
there is the Caneva collection of the ICCD, the Istituto
Centrale per il Catalogo e la Documentazione at Rome
and that belonging to the Museo della Fotografi a Fratelli
Alinari at Florence; in Spain there is the Bernardino
Montanés collection at Saragossa. In his treatise of
1855 Caneva shows his acquaintance with the albumen
process on glass invented by A. Niépce de Saint Vic-
tor, and the damp collodion process on glass invented