Ref: 5003KS
1) the Grand Canal with the Riva del Vin and a view of the Rialto Bridge 2) St Mark’s Square with the Torre dell’Orologio
Francesco Guardi
Ref: 5003KS
1) the Grand Canal with the Riva del Vin and a view of the Rialto Bridge 2) St Mark’s Square with the Torre dell’Orologio
Francesco Guardi
Oil on coarse canvas; each has a label on the reverse bearing restoration details from 1953
A pair of Venetian gondolas after Francesco Guardi (Venice 1712–1793), late 18th century.
A pair of Venetian gondolas after Francesco Guardi (Venice 1712–1793), late 18th century.
Description: 1) Grand Canalwith the Rivadel Vin anda view ofthe Rialto Bridge
The Rialto Bridge
TheRialto BridgeinVeniceis one ofthe city's mostfamous landmarks. SpanningtheGrand Canal, the bridge is48 metres long, 22 metres wide, and has aclearance of 7.5metres. The clearspan ofits single archmeasures 28.8 metres. The foundations ofits two abutmentsconsist of timberpile platforms, each supportedby 6,000 drivenwooden piles oneither side.
Until the constructionof theAccademia Bridgein 1854, itwas the onlypedestrian crossing overthe Grand Canal. Before the presentbridge was built, three successivebridges stood onthe same site, all of themmade of wooduntil the16th century. Thefirst, built in1181, was designedbyNicolò Barattieri. The second restedon piers. Accordingto theChronica per extensumdescriptabyAndrea Dandolo, this wooden bridgewas erected in1264 during thereign ofDoge Renier Zen.It collapsed in1444 under theweight of acrowd gathered towatch the weddingprocession of theMarquis of Ferrara.
2) Piazza SanMarco with theTorre dell'Orologio
The Torre dell'Orologio
TheTorre dell'Orologio (ClockTower)onPiazza San Marco(St. Mark's Square)inVenicewas built between1496 and 1499. Its bell wascast in1497bySimeone Campanatoat theVenetian Arsenal. It remains uncertainwhether the towerwas actually designedby the architectMauro Codussi, to whom itis most commonlyattributed.
Unlike theTorre di Sant'Alipio, an earlier towerwith a similarfunction that stoodon the northwesternedge of St. Mark's Square untilthe end ofthe 15th century, the new ClockTower was erectedbetween Venice's largestsquare and theMercerie, the city's historicshopping streets.
As early as1493, theRogati (the VenetianSenate)commissioned the masterbuilderZuan Carlo daReggioto construct theclock itself. However, the exact locationof the towerwas notdetermined until1495. Demolition work beganin1496to prepare thefoundations for theremarkablehorologio(clock tower). AccordingtoMarin Sanudo, construction, includingthe clockmechanism, was completed inFebruary 1499. The tower occupiesa footprint ofapproximately9 by 6metres. The two lateralwings, however, werenot added untilafter1513.
In the mid-18th century, the architectGiorgio Massaricarried out majoralterations that completelytransformed the interiorand also modifiedparts of thefaçade.
Between1588 and1591, the presentstone bridge wasconstructed byAntonio da PonteunderDoge Pasquale Cicognaand was officiallyopened to trafficon 20 March1591.
On both paintings, the contemporary Venetiancopyist has reproducedFrancesco Guardi's distinctivepainterly style withremarkablemastery. The dramaticinterplay of lightand shadow socharacteristic of Guardi, together with hisvibrantandexpressive palette, hasbeen imitated withexceptional fidelity, resultingin works thatclosely resemble theiroriginal models.
Francesco Guardi (Venice, 1712–1793)
Francesco Guardi wasthe son ofthe North ItalianBaroque painter DomenicoGuardi (1678–1716), originally from Trentino, and Maria ClaudiaPichler. His brotherswere Giovanni AntonioGuardi (1699–1760) and Nicolò Guardi, while his sisterCecilia Guardi marriedGiovanni Battista Tiepolo(1696–1770), whobecame president ofthe Venetian Academyin 1756. Francescohimselfwas notadmitted to theAcademy until 1784. He later trainedhis son Jacopoas a painter.
Until the deathof his brotherAntonio in 1760, Francesco worked inthe family's paintingworkshop, where hisyounger brother Nicolòwas also active. At the beginningof his career, he painted primarilyaltarpieces. As apupil and successorof Canaletto, however, he turned increasinglyto vedute afterCanaletto had leftVenice. Initially, hechose many ofthe same subjects—above allpanoramicviews of Venice—that Canaletto hadalready painted withgreat success.
Guardi's paintings, however, differ significantly fromCanaletto's later works. They are distinguishedby vivid effectsof light andshadow, a dramaticallyheightened, freer andmorespontaneous handling ofpaint, and attimes a rich, impasto application thatseems to anticipateImpressionist painting,particularly in itssensitivity to lightand colour. UnlikeCanaletto, Guardi oftensacrificed stricttopographical accuracyin favour ofa more evocativepictorial effect. Someof his worksarecapricci—imaginative compositionscombining real andinvented architecture andlandscapes.
His paintings arecharacterized by aclear and harmoniousilluminationand an evocative, atmospheric quality. Theircolours are richerand more vibrantthan those ofhis master, although thedrawing is generallyless detailed. Despitethese stylistic differences, Guardi's works werefrequently attributed tohis more famousteacher.
The Rialto Bridge
TheRialto BridgeinVeniceis one ofthe city's mostfamous landmarks. SpanningtheGrand Canal, the bridge is48 metres long, 22 metres wide, and has aclearance of 7.5metres. The clearspan ofits single archmeasures 28.8 metres. The foundations ofits two abutmentsconsist of timberpile platforms, each supportedby 6,000 drivenwooden piles oneither side.
Until the constructionof theAccademia Bridgein 1854, itwas the onlypedestrian crossing overthe Grand Canal. Before the presentbridge was built, three successivebridges stood onthe same site, all of themmade of wooduntil the16th century. Thefirst, built in1181, was designedbyNicolò Barattieri. The second restedon piers. Accordingto theChronica per extensumdescriptabyAndrea Dandolo, this wooden bridgewas erected in1264 during thereign ofDoge Renier Zen.It collapsed in1444 under theweight of acrowd gathered towatch the weddingprocession of theMarquis of Ferrara.
2) Piazza SanMarco with theTorre dell'Orologio
The Torre dell'Orologio
TheTorre dell'Orologio (ClockTower)onPiazza San Marco(St. Mark's Square)inVenicewas built between1496 and 1499. Its bell wascast in1497bySimeone Campanatoat theVenetian Arsenal. It remains uncertainwhether the towerwas actually designedby the architectMauro Codussi, to whom itis most commonlyattributed.
Unlike theTorre di Sant'Alipio, an earlier towerwith a similarfunction that stoodon the northwesternedge of St. Mark's Square untilthe end ofthe 15th century, the new ClockTower was erectedbetween Venice's largestsquare and theMercerie, the city's historicshopping streets.
As early as1493, theRogati (the VenetianSenate)commissioned the masterbuilderZuan Carlo daReggioto construct theclock itself. However, the exact locationof the towerwas notdetermined until1495. Demolition work beganin1496to prepare thefoundations for theremarkablehorologio(clock tower). AccordingtoMarin Sanudo, construction, includingthe clockmechanism, was completed inFebruary 1499. The tower occupiesa footprint ofapproximately9 by 6metres. The two lateralwings, however, werenot added untilafter1513.
In the mid-18th century, the architectGiorgio Massaricarried out majoralterations that completelytransformed the interiorand also modifiedparts of thefaçade.
Between1588 and1591, the presentstone bridge wasconstructed byAntonio da PonteunderDoge Pasquale Cicognaand was officiallyopened to trafficon 20 March1591.
On both paintings, the contemporary Venetiancopyist has reproducedFrancesco Guardi's distinctivepainterly style withremarkablemastery. The dramaticinterplay of lightand shadow socharacteristic of Guardi, together with hisvibrantandexpressive palette, hasbeen imitated withexceptional fidelity, resultingin works thatclosely resemble theiroriginal models.
Francesco Guardi (Venice, 1712–1793)
Francesco Guardi wasthe son ofthe North ItalianBaroque painter DomenicoGuardi (1678–1716), originally from Trentino, and Maria ClaudiaPichler. His brotherswere Giovanni AntonioGuardi (1699–1760) and Nicolò Guardi, while his sisterCecilia Guardi marriedGiovanni Battista Tiepolo(1696–1770), whobecame president ofthe Venetian Academyin 1756. Francescohimselfwas notadmitted to theAcademy until 1784. He later trainedhis son Jacopoas a painter.
Until the deathof his brotherAntonio in 1760, Francesco worked inthe family's paintingworkshop, where hisyounger brother Nicolòwas also active. At the beginningof his career, he painted primarilyaltarpieces. As apupil and successorof Canaletto, however, he turned increasinglyto vedute afterCanaletto had leftVenice. Initially, hechose many ofthe same subjects—above allpanoramicviews of Venice—that Canaletto hadalready painted withgreat success.
Guardi's paintings, however, differ significantly fromCanaletto's later works. They are distinguishedby vivid effectsof light andshadow, a dramaticallyheightened, freer andmorespontaneous handling ofpaint, and attimes a rich, impasto application thatseems to anticipateImpressionist painting,particularly in itssensitivity to lightand colour. UnlikeCanaletto, Guardi oftensacrificed stricttopographical accuracyin favour ofa more evocativepictorial effect. Someof his worksarecapricci—imaginative compositionscombining real andinvented architecture andlandscapes.
His paintings arecharacterized by aclear and harmoniousilluminationand an evocative, atmospheric quality. Theircolours are richerand more vibrantthan those ofhis master, although thedrawing is generallyless detailed. Despitethese stylistic differences, Guardi's works werefrequently attributed tohis more famousteacher.
Literature: This work is based on a composition by Francesco Guardi, of which several versions are known (see A. Morassi, *Guardi; I dipinti*, Venice, 1984, II, figs. 378–384).
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1) the Grand Canal with the Riva del Vin and a view of the Rialto Bridge 2) St Mark’s Square with the Torre dell’Orologio