Francesco Lazzaro Guardi ( Italian pronunciation: [franˈtʃesko ˈgwardi] ; 5 October 1712 – 1 January 1793) was an Italian painter, nobleman, and a member of the Venetian School . He is considered to be among the last practitioners, along with his brothers, of the classic Venetian school of painting.
26-468: In the early part of his career he collaborated with his older brother Gian Antonio in the production of religious paintings. After Gian Antonio's death in 1760, Francesco concentrated on vedute . The earliest of these show the influence of Canaletto , but he gradually adopted a looser style characterized by spirited brush-strokes and freely imagined architecture. Francesco Guardi was born in Venice into
52-453: A family of nobility from Trentino . His father Domenico (born in 1678) and his brothers Niccolò and Gian Antonio were also painters, later inheriting the family workshop after the father's death in 1716. They probably all contributed as a team to some of the larger commissions later attributed to Francesco. His sister Maria Cecilia married the pre-eminent Veneto-European painter of his epoch, Giovanni Battista Tiepolo . In 1735, Guardi moved to
78-455: A murky lagoon. Canaletto's canvases often have intricate linear and brilliant details, and depict Venice in sunny daylight. Guardi paints clouded skies above a city at dusk. These contrasts, however, simplify the facts, since Canaletto often painted the drab communal life and neighborhoods (creating in them some epic artistic qualities), while Guardi did not avoid sometimes painting the ceremonies of Ducal Venice. Ultimately, Guardi's paintings evoke
104-527: A team to some of the larger commissions later attributed to Francesco. His sister Maria Cecilia married the pre-eminent Veneto-European painter of his epoch, Giovanni Battista Tiepolo . In 1735, Guardi moved to the workshop of Michele Marieschi , where he remained until 1743. His first certain works are from 1738, for a parish at Vigo d'Anuania , in Trentino . In this period he worked alongside his older brother, Gian Antonio. The first work signed by Francesco
130-608: A team to some of the larger commissions later attributed to his brother Francesco Guardi. His sister Maria Cecilia married the pre-eminent Veneto-European painter of his epoch, Giovanni Battista Tiepolo . He may have received his artistic training in Vienna, where he is first recorded in 1719, but had established a workshop in Venice by 1730. Among his first important clients was the connoisseur and collector Johann Matthias von der Schulenburg , for whom Guardi created numerous paintings with an Orientalist theme. He produced copies after
156-561: Is a Saint Adoring the Eucharist (c. 1739). His works in this period included both landscapes and figure compositions. His early vedute show influence both from Canaletto and Luca Carlevarijs . On 15 February 1757, he married Maria Mattea Pagani, the daughter of painter Matteo Pagani . In 1760 his brother Gian Antonio died and his first son, Vincenzo, was born. His second son, Giacomo , was born in 1764. In 1763 he worked in Murano , in
182-448: Is known as pittura di tocco (of touch) for its small dotting and spirited brush-strokes. This looser style of painting had been used by Giovanni Piazzetta and Sebastiano Ricci , and recalls, in some religious themes, the sweetened sfumato of Barocci 's Bolognese style. In this he differs from the more linear and architecturally accurate style of Canaletto's painting. This style, a century later, would make Guardi's works highly prized by
208-632: The Accademia Carrara of Bergamo . Guardi died at Campiello de la Madona in Cannaregio (Venice) in 1793. Among all the paintings attributed to either Francesco and his brother Gian Antonio Guardi, the most praised work is not a landscape, but instead the airy sfumato Story of Tobit painted for the organ loft in the small Chiesa dell'Angelo San Raffaele . To quote from the Web Gallery of Art: Perspective, organized aerial space,
234-619: The Church of the Angelo San Raffaele , as well as decorative cycles for palaces and villas in the city and the surrounding countryside. Francesco Casanova was among his pupils. He died in Venice in 1760. [REDACTED] Media related to Giovanni Antonio Guardi at Wikimedia Commons Francesco Guardi Francesco Lazzaro Guardi ( Italian pronunciation: [franˈtʃesko ˈgwardi] ; 5 October 1712 – 1 January 1793)
260-569: The Doge's Feasts , a series of twelve canvases celebrating the ceremonies held in 1763 for the election of Doge Alvise IV Mocenigo . In his later years, Canaletto's influence on his art diminished, as shown by the Piazzetta in the Ca' d'Oro of Venice. In circa 1778, he painted the severe Holy Trinity Appearing to Sts. Peter and Paul in the parish church of Roncegno . In 1782 Guardi was commissioned by
286-559: The French Impressionists . Canaletto, as a vedutista, concentrated on glamorous urban architecture erected by the serene republic; on the other hand, in Guardi, the buildings often appear to be melting and sinking into a murky lagoon. Canaletto's canvases often have intricate linear and brilliant details, and depict Venice in sunny daylight. Guardi paints clouded skies above a city at dusk. These contrasts, however, simplify
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#1732766067197312-462: The Palladian solidity of Tiepolo... are exchanged for a personal style of coloured handwriting – now brilliantly calligraphic, and now brilliantly cloudy. Guardi's painterly style is known as pittura di tocco (of touch) for its small dotting and spirited brush-strokes. This looser style of painting had been used by Giovanni Piazzetta and Sebastiano Ricci , and recalls, in some religious themes,
338-531: The Piazzetta in the Ca' d'Oro of Venice. In circa 1778, he painted the severe Holy Trinity Appearing to Sts. Peter and Paul in the parish church of Roncegno . In 1782 Guardi was commissioned by the Venetian government six canvases to celebrate the visit of the Russian Grand Dukes to the city, of which only two remain, and two others for that of Pope Pius VI . On September 12 of that year he
364-641: The Venetian government six canvases to celebrate the visit of the Russian Grand Dukes to the city, of which only two remain, and two others for that of Pope Pius VI . On September 12 of that year he was admitted to the Fine Art Academy of Venice . A stronger attention to colours is present in late works such as the Concerto of 80 Orphans of 1782, now in Munich , in the Façade of Palace with Staircase in
390-427: The church of San Pietro Martire , finishing a Miracle of a Dominican Saint clearly influenced by Alessandro Magnasco in its quasi-expressionistic style. Francesco Guardi's most important later works include the Doge's Feasts , a series of twelve canvases celebrating the ceremonies held in 1763 for the election of Doge Alvise IV Mocenigo . In his later years, Canaletto's influence on his art diminished, as shown by
416-413: The daughter of painter Matteo Pagani . In 1760 his brother Gian Antonio died and his first son, Vincenzo, was born. His second son, Giacomo , was born in 1764. In 1763 he worked in Murano , in the church of San Pietro Martire , finishing a Miracle of a Dominican Saint clearly influenced by Alessandro Magnasco in its quasi-expressionistic style. Francesco Guardi's most important later works include
442-416: The facts, since Canaletto often painted the drab communal life and neighborhoods (creating in them some epic artistic qualities), while Guardi did not avoid sometimes painting the ceremonies of Ducal Venice. Ultimately, Guardi's paintings evoke the onset of the dissipation. The citizenry has shrunken to an impotent lilliputian crowd of "rubber-neckers", unable to rescue the crumbling Republic, as for example in
468-425: The influence of Canaletto , but he gradually adopted a looser style characterized by spirited brush-strokes and freely imagined architecture. Francesco Guardi was born in Venice into a family of nobility from Trentino . His father Domenico (born in 1678) and his brothers Niccolò and Gian Antonio were also painters, later inheriting the family workshop after the father's death in 1716. They probably all contributed as
494-426: The most praised work is not a landscape, but instead the airy sfumato Story of Tobit painted for the organ loft in the small Chiesa dell'Angelo San Raffaele . To quote from the Web Gallery of Art: Perspective, organized aerial space, the Palladian solidity of Tiepolo... are exchanged for a personal style of coloured handwriting – now brilliantly calligraphic, and now brilliantly cloudy. Guardi's painterly style
520-828: The onset of the dissipation. The citizenry has shrunken to an impotent lilliputian crowd of "rubber-neckers", unable to rescue the crumbling Republic, as for example in the Fire in the Oil Depot in San Marcuola . It was fitting depiction of the rapidly declining empire, which had declined, in Napoleon's assessment, into a "drawing room of Europe" peopled with casinos, carnivals, and courtesans for hire. [REDACTED] Media related to Francesco Guardi at Wikimedia Commons Gian Antonio Guardi Giovanni Antonio Guardi (1699 – 23 January 1760), also known as Gianantonio Guardi ,
546-448: The sweetened sfumato of Barocci 's Bolognese style. In this he differs from the more linear and architecturally accurate style of Canaletto's painting. This style, a century later, would make Guardi's works highly prized by the French Impressionists . Canaletto, as a vedutista, concentrated on glamorous urban architecture erected by the serene republic; on the other hand, in Guardi, the buildings often appear to be melting and sinking into
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#1732766067197572-537: The work of other artists, as well as a series of originals with Turkish-inspired interiors as easel pictures for private decorations. Antonio Guardi trained his younger brothers Nicolò and Francesco in his workshop, the latter working closely with him as a figure painter before establishing himself as a vedutista in the late 1750s. A founder member of the Accademia Veneziana in 1756, the elder Guardi produced several works for churches in Venice, notably in
598-511: The workshop of Michele Marieschi , where he remained until 1743. His first certain works are from 1738, for a parish at Vigo d'Anuania , in Trentino . In this period he worked alongside his older brother, Gian Antonio. The first work signed by Francesco is a Saint Adoring the Eucharist (c. 1739). His works in this period included both landscapes and figure compositions. His early vedute show influence both from Canaletto and Luca Carlevarijs . On 15 February 1757, he married Maria Mattea Pagani,
624-421: Was admitted to the Fine Art Academy of Venice . A stronger attention to colours is present in late works such as the Concerto of 80 Orphans of 1782, now in Munich , in the Façade of Palace with Staircase in the Accademia Carrara of Bergamo . Guardi died at Campiello de la Madona in Cannaregio (Venice) in 1793. Among all the paintings attributed to either Francesco and his brother Gian Antonio Guardi,
650-522: Was an Italian painter and nobleman. Guardi was one of the founders of the Venetian Academy in 1756. He was born in Vienna into a family of nobility from Trentino. His father Domenico (born in 1678) was a Baroque painter. Gianantonio and his brothers Niccolò and Francesco (also painters), later inherited the family workshop after their father's death in 1716. They probably all contributed as
676-489: Was an Italian painter, nobleman, and a member of the Venetian School . He is considered to be among the last practitioners, along with his brothers, of the classic Venetian school of painting. In the early part of his career he collaborated with his older brother Gian Antonio in the production of religious paintings. After Gian Antonio's death in 1760, Francesco concentrated on vedute . The earliest of these show
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