All GUARDI, Francesco Oil Paintings


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GUARDI, Francesco Il Ridotto (The Foyer) dgh oil painting


Il Ridotto (The Foyer) dgh
Painting ID::  7138
Artist: GUARDI, Francesco
Painting: Il Ridotto (The Foyer) dgh
Introduction: 1755 Oil on canvas Museo del Settecento Veneziano, Ca' Rezzonico, Venice
   
   
     

 

 

 

 

 

 

 

GUARDI, Francesco San Cristoforo, San Michele and Murano, Seen from the Fondamenta Nuove sh oil painting


San Cristoforo, San Michele and Murano, Seen from the Fondamenta Nuove sh
Painting ID::  7139
Artist: GUARDI, Francesco
Painting: San Cristoforo, San Michele and Murano, Seen from the Fondamenta Nuove sh
Introduction: 1755-60 Oil on canvas, 60,5 x 91 cm Kunsthaus, Zurich
   
   
     

 

 

 

 

 

 

 

GUARDI, Francesco Nighttime Procession in Piazza San Marco fdh oil painting


Nighttime Procession in Piazza San Marco fdh
Painting ID::  7141
Artist: GUARDI, Francesco
Painting: Nighttime Procession in Piazza San Marco fdh
Introduction: 1758 Oil on canvas, 48 x 85 cm Ashmolean Museum, Oxford
   
   
     

 

 

 

 

 

 

 

GUARDI, Francesco The Piazzetta, Looking toward San Giorgio Maggiore dh oil painting


The Piazzetta, Looking toward San Giorgio Maggiore dh
Painting ID::  7143
Artist: GUARDI, Francesco
Painting: The Piazzetta, Looking toward San Giorgio Maggiore dh
Introduction: c. 1758 Oil on canvas, 49 x 83,5 cm Museo Civico, Treviso
   
   
     

 

 

 

 

 

 

 

GUARDI, Francesco The Lagoon with Boats, Gondolas, and Rafts kug oil painting


The Lagoon with Boats, Gondolas, and Rafts kug
Painting ID::  7144
Artist: GUARDI, Francesco
Painting: The Lagoon with Boats, Gondolas, and Rafts kug
Introduction: c. 1758 Oil on canvas, 33 x 54 cm Private collection
   
   
     

 

 

 

 

 

 

 


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     Check All GUARDI, Francesco's Paintings Here!
     Italian Rococo Era Painter, 1712-ca.1793 The records of his parish in Venice show that Francesco Guardi was baptized on Oct. 5, 1712. His father, Domenico, who died when Francesco was 4, had a workshop. Francesco and his elder brother, Gian Antonio, worked in a small studio, carrying out such orders as they could get for almost anything the client wanted:mythological pictures, genre, flower pieces, battle scenes, altarpieces, and even, on rare occasions, frescoes. They did not hesitate to copy compositions by other artists, but what they borrowed they always transformed into something more capricious, less stable, more fragmentary in the refraction of light. Francesco did not emerge as an independent personality until 1760, when his brother died. Then, 48 years old, he married, established his own studio, and devoted himself chiefly to painting views of Venice. For the most part he worked in obscurity, ignored by his contemporaries. He was not even admitted to the Venetian Academy until he was 72 years old. Guardi and Canaletto have always been compared to one another because the buildings they chose to paint were often the same. But the way each artist painted them is very different. Canaletto's world is constructed out of line. It provides solid, carefully drawn, three-dimensional objects that exist within logically constructed three-dimensional space. Guardi's world is constructed out of color and light. The objects in it become weightless in the light's shimmer and dissolve in a welter of brushstrokes; the space, like the forms in space, is suggested rather than described. Canaletto belonged essentially to the Renaissance tradition that began with Giotto and, as it grew progressively tighter and more controlled, pointed the way to neoclassicism. Guardi belonged to the new baroque tradition that grew out of the late style of Titian and, as it became progressively looser and freer, pointed the way toward impressionism. Such differences appear even in Guardi's early view paintings, where he was obviously trying to copy Canaletto, such as the Basin of San Marco. The famous buildings are there, but they are far in the background, insubstantial, seeming to float. In front is a fleet of fishing boats, their curving spars seeming to dance across the surface of the canvas. What is important for Guardi is not perspective but the changing clouds and the way the light falls on the lagoon. Guardi became increasingly fascinated by the water that surrounds Venice. In late works, such as the famous Lagoon with Gondola, buildings and people have been stripped away until there is nothing but the suggestion of a thin line of distant wharfs, a few strokes to indicate one man on a gondola, a long unbroken stretch of still water, and a cloudless sky. Guardi also painted the festivals that so delighted visitors to the city, such as the Marriage of Venice to the Sea. This was a symbolic ceremony in which the doge, in the great gilded galley of the head of state, surrounded by a thousand gondolas, appeared before all Venice, in Goethe's image, "raised up like the Host in a monstrance." Of all Guardi's paintings the most evocative are his caprices, the landscapes born out of his imagination though suggested by the ruined buildings on the lonely islands of the Venetian lagoon. A gentle melancholy clings to such scenes. . Related Artists to GUARDI, Francesco : | BERCKHEYDE, Job Adriaensz | Carl Rahl | John Houghton Hague | CHARONTON, Enguerrand | Palmezzano, Marco |

 

 

 

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