Las óleos de todo GUARDI, Francesco


ID Image  Painting (From A to Z)       Details 
7189  
GUARDI, Francesco, An Architectural Caprice
 
 An Architectural Caprice   before 1777 Oil on canvas, 54 x 36 cm National Gallery, London
63057  
GUARDI, Francesco, Audience Granted by the Doge
 
 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
7167  
GUARDI, Francesco, Audience Granted by the Doge dfh
 
 Audience Granted by the Doge dfh   1766-70 Oil on canvas, 66 x 100 cm Mus??e du Louvre, Paris
7152  
GUARDI, Francesco, Campo Santi Giovanni e Paolo fh
 
 Campo Santi Giovanni e Paolo fh   1762-63 Oil on canvas, 72 x 120 cm Mus??e du Louvre, Paris
7181  
GUARDI, Francesco, Capriccio with Venetian Motifs sg
 
 Capriccio with Venetian Motifs sg   1760s Oil on canvas, 33 x 51 cm Museo di Castelvecchio, Verona
7172  
GUARDI, Francesco, Carnival Thursday on the Piazzetta dgs
 
 Carnival Thursday on the Piazzetta dgs   1766-70 Oil on canvas, 67 x 100 cm Mus??e du Louvre, Paris
7188  
GUARDI, Francesco, Doge Alvise IV Mocenigo Appears to the People in St Mark s Basilica in 1763
 
 Doge Alvise IV Mocenigo Appears to the People in St Mark s Basilica in 1763   1775-77 Oil on canvas, 67 x 100 cm Mus??es Royaux des Beaux-Arts, Brussels
44408  
GUARDI, Francesco, Doge Alvise IV Mocenigo Appears to the People in St Mark's Basilica in 1763
 
 Doge Alvise IV Mocenigo Appears to the People in St Mark's Basilica in 1763   1775-77 Oil on canvas, 67 x 100 cm
7205  
GUARDI, Francesco, Fire in the Oil Depot at San Marcuola dg
 
 Fire in the Oil Depot at San Marcuola dg   1789 Oil on canvas, 42 x 62 cm Alte Pinakothek, Munich
7207  
GUARDI, Francesco, Fire in the San Marcuola Oil Depot sdg
 
 Fire in the San Marcuola Oil Depot sdg   1789 Oil on canvas Gallerie dell'Accademia, Venice
63060  
GUARDI, Francesco, Gondola
 
 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
7185  
GUARDI, Francesco, Gondola in the Lagoon dfhg
 
 Gondola in the Lagoon dfhg   1765-70 Oil on canvas, 25 x 38 cm Museo Poldi Pezzoli, Milan
7138  
GUARDI, Francesco, Il Ridotto (The Foyer) dgh
 
 Il Ridotto (The Foyer) dgh   1755 Oil on canvas Museo del Settecento Veneziano, Ca' Rezzonico, Venice
44414  
GUARDI, Francesco, Ladies Concert at the Philharmonic Hall
 
 Ladies Concert at the Philharmonic Hall   1782 Oil on canvas, 68 x 91 cm
63059  
GUARDI, Francesco, Landscape
 
 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
7194  
GUARDI, Francesco, Landscape sdg
 
 Landscape sdg   c. 1780 OIl on canvas, 120 x 152 cm The Hermitage, St. Petersburg
7186  
GUARDI, Francesco, Landscape with a Fisherman s Tent
 
 Landscape with a Fisherman s Tent   1770-75 Oil on canvas, 49 x 77 cm Fondazione Cagnola, Villa Gazzada, Gazzada
44407  
GUARDI, Francesco, Landscape with a Fisherman-s Tent
 
 Landscape with a Fisherman-s Tent   1770-75 Oil on canvas, 49 x 77 cm
7141  
GUARDI, Francesco, Nighttime Procession in Piazza San Marco fdh
 
 Nighttime Procession in Piazza San Marco fdh   1758 Oil on canvas, 48 x 85 cm Ashmolean Museum, Oxford
7198  
GUARDI, Francesco, Outward Voyage of the Bucintoro to San Nicol del Lido dfg
 
 Outward Voyage of the Bucintoro to San Nicol del Lido dfg   1785-88 Oil on canvas, 50 x 80 cm Private collection
85143  
GUARDI, Francesco, Pharaohs Daughter after Palma Il
 
 Pharaohs Daughter after Palma Il   oil on Canvas cyf
7191  
GUARDI, Francesco, Piazza di San Marco (detail) dh
 
 Piazza di San Marco (detail) dh   1777 Oil on canvas Gulbenkian Foundation, Lisbon
7190  
GUARDI, Francesco, Piazza di San Marco dfh
 
 Piazza di San Marco dfh   1777 Oil on canvas, 61 x 91 cm Gulbenkian Foundation, Lisbon
7182  
GUARDI, Francesco, Piazza San Marco sdgh
 
 Piazza San Marco sdgh   1760s Oil on canvas, 62 x 96 cm Accademia Carrara, Bergamo
7195  
GUARDI, Francesco, Pope Pius VI Blessing the People on Campo Santi Giovanni e Paolo sdg
 
 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
44409  
GUARDI, Francesco, Rio dei Mendicanti
 
 Rio dei Mendicanti   1780 Oil on canvas, 19,5 x 15 cm
7139  
GUARDI, Francesco, San Cristoforo, San Michele and Murano, Seen from the Fondamenta Nuove sh
 
 San Cristoforo, San Michele and Murano, Seen from the Fondamenta Nuove sh   1755-60 Oil on canvas, 60,5 x 91 cm Kunsthaus, Zurich
7170  
GUARDI, Francesco, The Coronation of the Doge dfg
 
 The Coronation of the Doge dfg   1766-70 Oil on canvas, 66 x 101 cm Mus??e du Louvre, Paris
7168  
GUARDI, Francesco, The Doge at the Basilica of La Salute  gd
 
 The Doge at the Basilica of La Salute gd   1766-70 Oil on canvas, 68 x 100 cm Mus??e du Louvre, Paris
63058  
GUARDI, Francesco, The Doge on the Bucentaur at San Niccol del Lido
 
 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
7169  
GUARDI, Francesco, The Doge on the Bucentaur at San Niccol del Lido dfh
 
 The Doge on the Bucentaur at San Niccol del Lido dfh   1766-70 Oil on canvas, 67 x 100 cm Musee du Louvre, Paris
7184  
GUARDI, Francesco, The Doge on the Bucintoro near the Riva di San Elena (detail)
 
 The Doge on the Bucintoro near the Riva di San Elena (detail)   1766-70 Oil on canvas, 66 x 100 cm (whole painting) Mus??e du Louvre, Paris
7183  
GUARDI, Francesco, The Doge on the Bucintoro near the Riva di Sant Elena
 
 The Doge on the Bucintoro near the Riva di Sant Elena   1766-70 Oil on canvas, 66 x 100 cm Mus??e du Louvre, Paris
44406  
GUARDI, Francesco, The Doge on the Bucintoro near the Riva di Sant-Elena
 
 The Doge on the Bucintoro near the Riva di Sant-Elena   Oil on canvas, 66 x 100 cm
7187  
GUARDI, Francesco, The Feast of the Ascension fdh
 
 The Feast of the Ascension fdh   c. 1775 Oil on canvas, 48 x 78 cm Gulbenkian Foundation, Lisbon
7149  
GUARDI, Francesco, The Giudecca Canal with the Zattere dgh
 
 The Giudecca Canal with the Zattere dgh   c. 1759 Oil on canvas, 72 x 120 cm Private collection
7161  
GUARDI, Francesco, The Grand Canal at the Fish Market (Pescheria) dg
 
 The Grand Canal at the Fish Market (Pescheria) dg   c. 1765 Oil on canvas, 56 x 75 cm Pinacoteca di Brera, Milan
7197  
GUARDI, Francesco, The Grand Canal with San Simeone Piccolo and Santa Lucia sdg
 
 The Grand Canal with San Simeone Piccolo and Santa Lucia sdg   1780s Oil on canvas, 48 x 78 cm Thyssen-Bornemisza Collection, Madrid
7196  
GUARDI, Francesco, The Grand Canal with Santa Lucia and the Scalzi dfh
 
 The Grand Canal with Santa Lucia and the Scalzi dfh   1780s Oil on canvas, 48 x 78 cm Thyssen-Bornemisza Collection, Madrid
7159  
GUARDI, Francesco, The Grand Canal, Looking toward the Rialto Bridge sg
 
 The Grand Canal, Looking toward the Rialto Bridge sg   c. 1765 Oil on canvas, 56 x 75 cm Pinacoteca di Brera, Milan
7150  
GUARDI, Francesco, The Lagoon from the Fondamenta Nuove serg
 
 The Lagoon from the Fondamenta Nuove serg   c. 1759 Oil on canvas, 72 x 120 cm Private collection
7164  
GUARDI, Francesco, The Lagoon Looking toward Murano from the Fondamenta Nuove sdg
 
 The Lagoon Looking toward Murano from the Fondamenta Nuove sdg   1765-70 Oil on canvas, 31,7 x 52,7 cm Fitzwilliam Museum, Cambridge
7144  
GUARDI, Francesco, The Lagoon with Boats, Gondolas, and Rafts kug
 
 The Lagoon with Boats, Gondolas, and Rafts kug   c. 1758 Oil on canvas, 33 x 54 cm Private collection
7156  
GUARDI, Francesco, The Molo and the Riva degli Schiavoni from the Bacino di San Marco dfg
 
 The Molo and the Riva degli Schiavoni from the Bacino di San Marco dfg   1760-65 Oil on canvas, 122 x 152,5 cm Metropolitan Museum of Art, New York
7209  
GUARDI, Francesco, The Molo and the Riva degli Schiavoni from the Bacino di San Marco sdg
 
 The Molo and the Riva degli Schiavoni from the Bacino di San Marco sdg   c. 1760 Drawing Private collection
7157  
GUARDI, Francesco, The Piazza San Marco towards the Basilica dfh
 
 The Piazza San Marco towards the Basilica dfh   1760-65 Oil on canvas, 72,5 x 119 cm National Gallery, London
63055  
GUARDI, Francesco, The Piazzetta
 
 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
7143  
GUARDI, Francesco, The Piazzetta, Looking toward San Giorgio Maggiore dh
 
 The Piazzetta, Looking toward San Giorgio Maggiore dh   c. 1758 Oil on canvas, 49 x 83,5 cm Museo Civico, Treviso
7154  
GUARDI, Francesco, The Rialto Bridge with the Palazzo dei Camerlenghi dg
 
 The Rialto Bridge with the Palazzo dei Camerlenghi dg   c. 1763 Oil on canvas, 60 x 91 cm Private collection
7162  
GUARDI, Francesco, The Three-Arched Bridge at Cannaregio sdg
 
 The Three-Arched Bridge at Cannaregio sdg   1765-70 Oil on canvas National Gallery of Art, Washington
7165  
GUARDI, Francesco, The Torre del Orologio
 
 The Torre del Orologio   1765-70 Oil on canvas, 62,5 x 89,4 cm Akademie der bildenden K??nste, Vienna
7210  
GUARDI, Francesco, The Torre del Orologio sdg
 
 The Torre del Orologio sdg   1765-70 Drawing Mus??e du Petit Palais, Paris
63056  
GUARDI, Francesco, The Torre del'Orologio
 
 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
44413  
GUARDI, Francesco, The Torre del-Orologio
 
 The Torre del-Orologio   1765-70 Oil on canvas, 62,5 x 89,4 cm
7193  
GUARDI, Francesco, View of Piazzetta San Marco towards the San Giorgio Maggiore sdg
 
 View of Piazzetta San Marco towards the San Giorgio Maggiore sdg   1770s Oil on canvas Galleria Franchetti, Ca' d'Oro, Venice

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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