Angel with the White Goose (certified attribution) - View of Venice

The subject of this painting is part of the Vedutismo movement. Vedutismo is a genre born in the 18th century and developed primarily in Venice. Vedutismo painters aimed to represent a landscape objectively and scientifically, placing it as the protagonist of the work. There are basically two types of vedute: the realistic one, taken exactly from reality, and the "capriccio," a fanciful view invented by the painter.

The work has been attributed to Angelo dall'Oca Bianca by an expert opinion from Dr. Francesca Fedeli: "The subject is typical of the Venetian vedutisti (view painters) working between the late 19th and early 20th centuries, and the pictorial style also points to this circle. Although there is no signature or date on the front, the work is easily attributable to the Veronese master Angelo dall'Oca Bianca (1858-1942), both for the presence of the apocryphal pencil signature "Dallocabianca" on the back and for its distinctive pictorial characteristics. The rich palette, the bright colors, and the execution style are consistent with those of the Veronese master, who favored views, landscapes, and scenes drawn from life. The painting is in fair condition, although the color has oxidized and is slightly yellowed."

The painter Angelo Carlo Dall'Oca Bianca was born in Verona on March 31, 1858. After a troubled and turbulent childhood, he resumed his studies as a self-taught artist and, driven by an uncommon talent, began drawing and painting. For several years, he regularly attended the local Cignaroli Academy of Fine Arts, then directed by N. Nani, receiving excellent recognition. Attracted by the teachings of G. Favretto, he transferred to the Academy of Fine Arts in Venice. He began participating in various exhibitions (Brera 1880, Milan 1881, Turin 1884), where he reaped prizes and awards, with works such as Ave Maria (now in Milan, Galleria d'Arte Moderna). But his fame is linked above all to the works in which he celebrates the beauty of Verona, such as the various versions of Piazza delle Erbe. The precious photographic plates, now preserved by the Castelvecchio Museum in Verona, also document his interest in photography. Having achieved success and financial prosperity, he became a defender of Verona's artistic heritage and natural beauty, and also linked his name to the "village," inaugurated at Christmas 1939, intended to provide homes for several hundred poor families. To continue his charitable activities, he named the city of Verona as his sole heir. He died in Verona on May 18, 1942.

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