Although his approach tends toward the Classical more than the Romantic, he is fundamentally a Modernist — «an artist in his time» — to cite the nineteenth century French critic, Charles Baudelaire. Over the years, his self-appointed task has been to capture the monuments and waterways of Venice through the appearance of light. Therefore, his perceptions of this finely wrought »invisible city» have less in common with the more narrative aspects of life seen in paintings by Canaletto or with the earlier illustrative works of Carpaccio. In either case, their views of Venice are not the way things appear today. For example, the glittering ancient stones of Torcello appear differently to Morgan than they did to Ruskin just as the appearance of the Acropolis today appears differently than it did in eighteenth century or, for that matter, in the fifth century B.C.E.