Description

Francesco Guardi, 1712 Venedig – 1793 ebenda, zugeschrieben

RARE VIEW WITH VENETIAN PIAZZA ON THE CANAL Oil on canvas. Doubled margins. 26 x 30 cm. With handwritten annotations verso on the original canvas. In gilded profile frame. In a brisk brushstroke depiction of a piazza presumably existing at the time with a staffage of figures, partly dancing, partly pursuing business. The rear is closed off by a tower with a round arch, into which a sacred painting in a pointed gable is incorporated. On the right, a gondola coming from the canal, passing under a bridge in the background, with the Campanile in the background. His training and most of his work until 1760 was carried out together with his older brother Giannantonio, who ran the family workshop. In comparison to his brother, he showed a different sensibility early on, with a quick, broken brushstroke that reflects the connection between figures and atmosphere. His interest in landscapes led him to approach vedutism around 1755. He proposed a personal interpretation that replaced the documentary component in favor of an atmospheric representation capable of reproducing the particular vividness of the light of the lagoon and its inhabitants. Guardi probably began producing his first vedute in order to tap into the lucrative market of foreign visitors, which in those years had been vacated by Canaletto, who had gone to England. His early works are based on the compositions of Canaletto and Marieschi, the pictorial design is fluid and controlled, still a far cry from the crisp, stenographic style that was to make him famous. However, his unique style was already evident in some of these early works, in which the figures constructed from frothy mixtures of color reveal a vivid chromatic timbre. This resulted in masterpieces such as the two "Vedute della Ca d'Oro" (Views of the Ca' d'Oro) or those that are kept in museums all over the world. His most successful period was between the seventh and eighth decades of the 18th century: in 1764 he was commissioned to paint two large views of St. Mark's Square for an Englishman. A little later, he produced the twelve paintings of the Doge's Feast based on Canaletto's designs, engraved by Giambattista Brustolon. Francesco Guardi derived his paintings, which are now in the Louvre, from the prints: The result is truly astonishing and reveals the painter's transfiguring and fantastic power. In 1782, he was commissioned to create four paintings to commemorate the visit of Pope Pius VI to Venice. For the now seventy-year-old artist, it was finally an official commission, followed by the paintings celebrating the arrival of the Archdukes of Russia in Venice, who came incognito under the name of the Conti del Nord. The paintings intended to commemorate the marriage between Duke Armando di Polignac and Baroness Idalia of Neukirchen were never produced, but the magnificent preparatory sheets for them are kept in the print room of the Museo Correr. Over time, his highly personal style became increasingly free and allusive: the proportions between the various elements were freely altered, the perspective structure became elastic and deformed without any connection to reality. Eventually, the figures become simple splashes of color, a quick white scribble or a black dot traced with a flickering marker. He also painted some magnificent pictures of villas in the middle of the green Venetian landscape. Provenance: Lempertz Cologne, 1959. private collection, Rhineland. Lempertz Cologne, March 20, 2013, lot 24. Private collection, Germany. (14001412) (13)

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Francesco Guardi, 1712 Venedig – 1793 ebenda, zugeschrieben

Estimate 8 000 - 12 000 EUR

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For sale on Thursday 27 Jun : 10:00 (CEST)
munich, Germany
Hampel
+4989.288.041.70
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