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GUARDI, Francesco Oil Painting Reproductions
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GUARDI, Francesco Piazza di San Marco dfh oil


GUARDI, Francesco
Piazza di San Marco dfh
Painting ID::  7190
GUARDI, Francesco31.jpg 		Piazza di San Marco dfh
1777 Oil on canvas, 61 x 91 cm Gulbenkian Foundation, Lisbon
   
   
     
GUARDI, Francesco Piazza di San Marco (detail) dh oil


GUARDI, Francesco
Piazza di San Marco (detail) dh
Painting ID::  7191
GUARDI, Francesco32.jpg 		Piazza di San Marco (detail) dh
1777 Oil on canvas Gulbenkian Foundation, Lisbon
   
   
     
GUARDI, Francesco View of Piazzetta San Marco towards the San Giorgio Maggiore sdg oil


GUARDI, Francesco
View of Piazzetta San Marco towards the San Giorgio Maggiore sdg
Painting ID::  7193
GUARDI, Francesco33.jpg 		View of Piazzetta San Marco towards the San Giorgio Maggiore sdg
1770s Oil on canvas Galleria Franchetti, Ca' d'Oro, Venice
   
   
     
GUARDI, Francesco Landscape sdg oil


GUARDI, Francesco
Landscape sdg
Painting ID::  7194
GUARDI, Francesco34.jpg 		Landscape sdg
c. 1780 OIl on canvas, 120 x 152 cm The Hermitage, St. Petersburg
   
   
     
GUARDI, Francesco Pope Pius VI Blessing the People on Campo Santi Giovanni e Paolo sdg oil


GUARDI, Francesco
Pope Pius VI Blessing the People on Campo Santi Giovanni e Paolo sdg
Painting ID::  7195
GUARDI, Francesco35.jpg 		Pope Pius VI Blessing the People on Campo Santi Giovanni e Paolo sdg
1782 Oil on canvas, 63,5 x 78,5 cm Ashmolean Museum, Oxford
   
   
     
GUARDI, Francesco The Grand Canal with Santa Lucia and the Scalzi dfh oil


GUARDI, Francesco
The Grand Canal with Santa Lucia and the Scalzi dfh
Painting ID::  7196
GUARDI, Francesco36.jpg 		The Grand Canal with Santa Lucia and the Scalzi dfh
1780s Oil on canvas, 48 x 78 cm Thyssen-Bornemisza Collection, Madrid
   
   
     
GUARDI, Francesco The Grand Canal with San Simeone Piccolo and Santa Lucia sdg oil


GUARDI, Francesco
The Grand Canal with San Simeone Piccolo and Santa Lucia sdg
Painting ID::  7197
GUARDI, Francesco37.jpg 		The Grand Canal with San Simeone Piccolo and Santa Lucia sdg
1780s Oil on canvas, 48 x 78 cm Thyssen-Bornemisza Collection, Madrid
   
   
     
GUARDI, Francesco Outward Voyage of the Bucintoro to San Nicol del Lido dfg oil


GUARDI, Francesco
Outward Voyage of the Bucintoro to San Nicol del Lido dfg
Painting ID::  7198
GUARDI, Francesco38.jpg 		Outward Voyage of the Bucintoro to San Nicol del Lido dfg
1785-88 Oil on canvas, 50 x 80 cm Private collection
   
   
     
GUARDI, Francesco Fire in the Oil Depot at San Marcuola dg oil


GUARDI, Francesco
Fire in the Oil Depot at San Marcuola dg
Painting ID::  7205
GUARDI, Francesco39.jpg 		Fire in the Oil Depot at San Marcuola dg
1789 Oil on canvas, 42 x 62 cm Alte Pinakothek, Munich
   
   
     
GUARDI, Francesco Fire in the San Marcuola Oil Depot sdg oil


GUARDI, Francesco
Fire in the San Marcuola Oil Depot sdg
Painting ID::  7207
GUARDI, Francesco40.jpg 		Fire in the San Marcuola Oil Depot sdg
1789 Oil on canvas Gallerie dell'Accademia, Venice
   
   
     
GUARDI, Francesco The Molo and the Riva degli Schiavoni from the Bacino di San Marco sdg oil


GUARDI, Francesco
The Molo and the Riva degli Schiavoni from the Bacino di San Marco sdg
Painting ID::  7209
GUARDI, Francesco41.jpg 		The Molo and the Riva degli Schiavoni from the Bacino di San Marco sdg
c. 1760 Drawing Private collection
   
   
     
GUARDI, Francesco The Torre del Orologio sdg oil


GUARDI, Francesco
The Torre del Orologio sdg
Painting ID::  7210
GUARDI, Francesco42.jpg 		The Torre del Orologio sdg
1765-70 Drawing Mus??e du Petit Palais, Paris
   
   
     
GUARDI, Francesco The Doge on the Bucintoro near the Riva di Sant-Elena oil


GUARDI, Francesco
The Doge on the Bucintoro near the Riva di Sant-Elena
Painting ID::  44406
new16/GUARDI, Francesco-732283.jpg 		The Doge on the Bucintoro near the Riva di Sant-Elena
Oil on canvas, 66 x 100 cm
   
   
     
GUARDI, Francesco Landscape with a Fisherman-s Tent oil


GUARDI, Francesco
Landscape with a Fisherman-s Tent
Painting ID::  44407
new16/GUARDI, Francesco-834458.jpg 		Landscape with a Fisherman-s Tent
1770-75 Oil on canvas, 49 x 77 cm
   
   
     
GUARDI, Francesco Doge Alvise IV Mocenigo Appears to the People in St Mark's Basilica in 1763 oil


GUARDI, Francesco
Doge Alvise IV Mocenigo Appears to the People in St Mark's Basilica in 1763
Painting ID::  44408
new16/GUARDI, Francesco-427748.jpg 		Doge Alvise IV Mocenigo Appears to the People in St Mark's Basilica in 1763
1775-77 Oil on canvas, 67 x 100 cm
   
   
     
GUARDI, Francesco Rio dei Mendicanti oil


GUARDI, Francesco
Rio dei Mendicanti
Painting ID::  44409
new16/GUARDI, Francesco-369566.jpg 		Rio dei Mendicanti
1780 Oil on canvas, 19,5 x 15 cm
   
   
     
GUARDI, Francesco The Torre del-Orologio oil


GUARDI, Francesco
The Torre del-Orologio
Painting ID::  44413
new16/GUARDI, Francesco-574593.jpg 		The Torre del-Orologio
1765-70 Oil on canvas, 62,5 x 89,4 cm
   
   
     
GUARDI, Francesco Ladies Concert at the Philharmonic Hall oil


GUARDI, Francesco
Ladies Concert at the Philharmonic Hall
Painting ID::  44414
new16/GUARDI, Francesco-629485.jpg 		Ladies Concert at the Philharmonic Hall
1782 Oil on canvas, 68 x 91 cm
   
   
     
GUARDI, Francesco The Piazzetta oil


GUARDI, Francesco
The Piazzetta
Painting ID::  63055
new21/GUARDI, Francesco-868629.jpg 		The Piazzetta
1758 Oil on canvas, 49 x 83,5 cm Museo Civico, Treviso This painting is one of the earliest views of Venice painted by Francesco Guardi. Artist: GUARDI, Francesco Painting Title: The Piazzetta, Looking toward San Giorgio Maggiore , 1751-1800 Painting Style: Italian , , landscape
   
   
     
GUARDI, Francesco The Torre del'Orologio oil


GUARDI, Francesco
The Torre del'Orologio
Painting ID::  63056
new21/GUARDI, Francesco-377582.jpg 		The Torre del'Orologio
1765-70 Oil on canvas, 62,5 x 89,4 cm Akademie der bildenden K?nste, Vienna Ever since the early sixteenth century the view of Piazza San Marco has been partly determined by the Torre dell'Orologio, the construction of which was largely completed in 1506. Francesco Guardi represented the building here with the two storeys added to the wings in 1755. To the left of this is part of the Procuratie Vecchie, which at that time accommodated the procurators of San Marco, the most important representative magistracy after the Doge; on the right is the Basilica itself. It is striking that the square does not display the geometrical patterns of the paving which was laid in about 1723. Guardi recorded the view from a vantage point beyond the Campanile, though he adapted the result of his observations somewhat for the sake of the composition. By placing the walls of the Procuratie and the Torre parallel to the picture plane, the angle between these structures and the fa?ade of San Marco appear greater than in reality. This also has the effect of making the square much more spacious. There are also several details which do not entirely correspond with the actual situation, such as the three flagstaffs, which have been depicted lower and thinner than in actuality. A drawing by Guardi has been preserved that is virtually identical in terms of detail to the painting. Despite the prominent place of the Torre dell'Orologio it was seldom chosen as an independent motif by the Venetian vedutisti. Carlevaris and Canaletto did include it in paintings, but only as an incidental feature, and furthermore from a different angle. Francesco Guardi painted this theme at least eight times, always from virtually the same vantage point. Each time he gave a slightly different impression of the space by varying the relationships, the light and the positioning of the figures. In this painting the foreground is almost empty and the depth is only accentuated by the strikingly foreshortened fa?ade of San Marco and the lines of the three flagstaffs running parallel to it, and by the tents fluttering fitfully in the wind. In this simple composition Guardi emphasized the play of light and colour on the walls and the pavement. Artist: GUARDI, Francesco Painting Title: The Torre del'Orologio , 1751-1800 Painting Style: Italian , , landscape
   
   
     
GUARDI, Francesco Audience Granted by the Doge oil


GUARDI, Francesco
Audience Granted by the Doge
Painting ID::  63057
new21/GUARDI, Francesco-873935.jpg 		Audience Granted by the Doge
1766-70 Oil on canvas, 66 x 100 cm Musee du Louvre, Paris The painting depicts the audience granted by the Doge to the ambassadors in the Sala del Collegio of the Doge's Palace in Venice. Artist: GUARDI, Francesco Painting Title: Audience Granted by the Doge , 1751-1800 Painting Style: Italian , , landscape
   
   
     
GUARDI, Francesco The Doge on the Bucentaur at San Niccol del Lido oil


GUARDI, Francesco
The Doge on the Bucentaur at San Niccol del Lido
Painting ID::  63058
new21/GUARDI, Francesco-533283.jpg 		The Doge on the Bucentaur at San Niccol del Lido
1766-70 Oil on canvas, 67 x 100 cm Musee du Louvre, Paris This painting belongs to a series of twelve canvases, almost all in the Louvre, which recount the various episodes in the election of Doge Alvise Mocenigo of Venice in 1763. In reporting this event Guardi was inspired by engravings after the other master of the Venetian veduta (view), Antonio Canaletto. An observant and picturesque record of the traditional Venetian festival, which was part official ceremony and part popular rejoicing, this series attests to the pictorial verve of Guardi and to his sensitivity to the most fleeting atmospheric effects, worthy of the Impressionists over a century later. Artist: GUARDI, Francesco Painting Title: The Doge on the Bucentaur at San Niccol?del Lido , 1751-1800 Painting Style: Italian , , landscape
   
   
     
GUARDI, Francesco Landscape oil


GUARDI, Francesco
Landscape
Painting ID::  63059
new21/GUARDI, Francesco-749592.jpg 		Landscape
120 x 152 cm The Hermitage, St. Petersburg One of the rare compositions of the artist not containing archtectural elements. Artist: GUARDI, Francesco Painting Title: Landscape , 1751-1800 Painting Style: Italian , , landscape
   
   
     
GUARDI, Francesco Gondola oil


GUARDI, Francesco
Gondola
Painting ID::  63060
new21/GUARDI, Francesco-955369.jpg 		Gondola
25 x 38 cm Museo Poldi Pezzoli, Milan The lonely gondola is seen in the lagoon at the Fondamente Nuove, in front of the islands of San Cristoforo and San Michele. Artist: GUARDI, Francesco Painting Title: Gondola , 1751-1800 Painting Style: Italian , , landscape
   
   
     
GUARDI, Francesco Pharaohs Daughter after Palma Il oil


GUARDI, Francesco
Pharaohs Daughter after Palma Il
Painting ID::  85143
new25/GUARDI, Francesco-688885.jpg 		Pharaohs Daughter after Palma Il
oil on Canvas cyf
   
   
     
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     GUARDI, Francesco
     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.

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