Piazza San Marco, Venice

Francesco Guardi (attributed to) 1712 - 1793

Summary

This is one of a series of views that Guardi made of Venice. They show the technique of his later years: a spirited, atmospheric approach that is very different from the measured and orderly style of Canaletto, the other famous view-painter of Venice. This is a view across Saint Mark's Square, the principal public square in Venice, toward the Basilica of San Marco. Directly in front of the basilica are three tall flagpoles with bronze bases dating from the 16th century. The arcaded building on the left is the Procuratie Vecchie, which originally housed the offices and apartments of the procurators of San Marco. The tall building between that and the basilica is the Torre dell'Orologio. The Basilica is dwarfed by the huge bell tower, or campanile, dating from the 12th century and repeatedly restored, most recently after it collapsed completely in 1902. Behind it to the right is the pink facade of the Doge's Palace. The long arcaded building on the right of the piazza is the Procuratie Nuove, designed by the great Venetian architect, Vincenzo Scamozzi (1548-1616), which provided substantial additional premises for the procurators. The scene is brought to life by the groups of people scattered about the square, including two dogs, which the artist has placed carefully just to the right of the shadow. Guardi came from a family of Venetian artists. He worked first on religious paintings, initially with his father and then with his brother, until the latter's death in 1860. From then on he concentrated on vedute (views) and capricci (fantasy views) of Venice. This work has been attributed to him, because it conforms closely to the style of his last decade, although it can be very hard to distinguish Guardi's work from that of contemporary and other imitators.

Display Label

Piazza San Marco, Venice and The Piazzetta, Venice 1783-93 Attributed to Francesco Guardi 1712-93 Oil on panel Guardi came from a family of Venetian artists, and worked first in his father’s then his brother’s workshops on religious works until the latter’s death in 1860. From then on Guardi concentrated on vedute, or view paintings, of Venice. These two paintings have been attributed to him, as they are in the style of his last decade, but it can be very hard to distinguish his work from that of imitators. Assheton Bennett bequest 1979.518 and 1979.519