Together with his father Carlo, Giovanni Grubacs was part of that crowd of artists who courageously supported the lagoon landscape painting promoted years earlier by Antonio Canal known as Canaletto (1697-1768), borrowing from the contemporary nineteenth-century art how many artistic structures could help to renew the subject of the landscape. In fact, around the sixties of the nineteenth century the Italian verist demands, strongly supported by the most politically committed artistic school, were exacerbated, and Grubacs' formative events were addressed by this same climate.