This painting by Turner was first exhibited at the Royal Academy, London in 1835. The artist’s chosen title, however, is not an accurate description of the scene painted

On the right of the canvas is the Baroque church of Santa Maria della Salute, and the building further beyond with brownish roof is the Dogana da Mar, an old customs house. On the left in the distance is the bell tower of St Mark’s Basilica, and to its right the Doge’s Palace is vaguely visible

Thus, instead of a vantage point “from the Porch of Madonna della Salute”, the scene here is what one would see by being on the water of the Grand Canal looking east. Turner chose a low viewpoint which gives the spectator an immersive experience as if enjoying the scenery on a boat rowing along the Canal

In contrast to Canaletto’s realistic and highly detailed cityscapes of Venice, this work by Turner is permeated with much softness and dreaminess. The foundations of the buildings on both sides seem to melt into the water of the lagoon by means of delicate reflections. And beneath the azure sky the thin white clouds seem to gradually turn into a sea mist at the horizon

Turner benefitted from the fascination with Venice in 19th century Britain and found ready buyers for his views of Venice, while his other works remained unsold probably because of their increasing illegibility. Despite their popularity, Turner dismissed his Venice paintings as “scraps”