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Francesco Guardi Oil Paintings Francesco Guardi [Italian painter, 1712-1793] An Architectural Caprice picture ID 35299-An_Architectural_Caprice.jpg Oil Painting ID: 35299 | Order the painting Audience Granted by the Doge picture ID 35300-Audience_Granted_by_the_Doge.jpg Oil Painting ID: 35300 | Order the painting Campo Santi Giovanni e Paolo picture ID 35301-Campo_Santi_Giovanni_e_Paolo.jpg Oil Painting ID: 35301 | Order the painting Capriccio with Venetian Motifs picture ID 35302-Capriccio_with_Venetian_Motifs.jpg Oil Painting ID: 35302 | Order the painting Carnival Thursday on the Piazzetta picture ID 35303-Carnival_Thursday_on_the_Piazzetta.jpg Oil Painting ID: 35303 | Order the painting Doge Alvise IV Mocenigo picture ID 35304-Doge_Alvise_IV_Mocenigo.jpg Oil Painting ID: 35304 | Order the painting Fire in the Oil Depot at San Marcuola picture ID 35305-Fire_in_the_Oil_Depot_at_San_Marcuola.jpg Oil Painting ID: 35305 | Order the painting 1/2 Fire in the Oil Depot at San Marcuola picture ID 35306-Fire_in_the_Oil_Depot_at_San_Marcuola.jpg Oil Painting ID: 35306 | Order the painting Gondola in the Lagoon picture ID 35307-Gondola_in_the_Lagoon.jpg Oil Painting ID: 35307 | Order the painting Ladies Concert at the Philharmonic Hall picture ID 35308-Ladies_Concert_at_the_Philharmonic_Hall.jpg Oil Painting ID: 35308 | Order the painting Total 5 pages, 1/5 | Page : [1] 2 3 4 5 Francesco Guardi (Nationality : Italian painter, 1712-1793) Francesco Lazzaro Guardi (October 5, 1712 - January 1, 1793) was an Italian painter of veduta, 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. Francesco Guardi was born in Venice into a family of lesser nobility from Trentino. His father Domenico (born in 1678) and his brothers NiccolÃƒÂ² and Gian Antonio were also painters, the latter 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. • We provide hand painted reproductions of old master paintings. You will be amazed at their accuracy. • If you can't find what you are looking for? Please Click Here for upload images for quote. • We can also create custom portrait painting especially for you from photos or digital images. Our Passion Is Art And Art Is Our Profession. Your Satisfaction, Our Pursuit Oil Painting Manufacturer - Xiamen RuoYa Arts And Crafts Co., Ltd. Published on OilPaintingOnline.com (http://www.oilpaintingonline.com) URL: http://www.oilpaintingonline.com/htmlartist/artist-504-1.html 2/2.

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Morgan's Holdings of Eighteenth Century Venetian Drawings Number
Press Contacts Patrick Milliman 212.590.0310, [email protected] l Alanna Schindewolf 212.590.0311, [email protected] NEW MORGAN EXHIBITION EXPLORES ART IN 18TH-CENTURY VENICE WITH MORE THAN 100 DRAWINGS FROM THE MUSEUM’S RENOWNED HOLDINGS Tiepolo, Guardi, and Their World: Eighteenth-Century Venetian Drawings September 27, 2013–January 5, 2014 **Press Preview: Thursday, September 26, 2013, 10:00–11:30 a.m.** RSVP: (212) 590-0393, [email protected] New York, NY, September 3, 2013—The eighteenth century witnessed Venice’s second Golden Age. Although the city was no longer a major political power, it reemerged as an artistic capital, with such gifted artists as Giambattista Tiepolo, his son Domenico, Canaletto, and members of the Guardi family executing important commissions from the church, nobility, and bourgeoisie, while catering to foreign travelers and bringing their talents to other Italian cities and even north of the Alps. Drawn entirely from the Morgan’s collection of eighteenth-century Venetian drawings—one of Giambattista Tiepolo (1696–1770) Psyche Transported to Olympus the world’s finest—Tiepolo, Guardi, and Pen and brown ink, brown wash, over black chalk Gift of Lore Heinemann, in memory of her husband, Dr. Rudolf Their World chronicles the vitality and J. Heinemann, 1997.27 All works: The Morgan Library & Museum, New York originality of an incredibly vibrant period. The All works: Photography by Graham S. Haber exhibition will be on view from September 27, 2013–January 5, 2014. “In the eighteenth century, as the illustrious history of the thousand-year-old Venetian Republic was coming to a close, the city was favored with an array of talent that left a lasting mark on western art,” said William M.
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The Splendours of Venice View Paintings from the Eighteenth Century the Splendours of Venice View Paintings from the Eighteenth Century
The Splendours of Venice View Paintings from the Eighteenth Century The Splendours of Venice View Paintings from the Eighteenth Century The Splendours of Venice View Paintings from the Eighteenth Century Valentina Rossi and Amanda Hilliam DE LUCA EDITORI D’ARTE The Splendours of Venice View Paintings from the Eighteenth Century Lampronti Gallery 1-24 December 2014 9.30 - 6 pm Exhibition curated by Acknowledgements Amanda Hilliam Marcella di Martino, Emanuela Tarizzo, Barbara De Nipoti, the staff of Valentina Rossi Itaca Transport, the staff of Simon Jones Superfreight. Catalogue edited by Amanda Hilliam Valentina Rossi Photography Mauro Coen Matthew Hollow LAMPRONTI GALLERY 44 Duke Street, St James’s London SW1Y 6DD Via di San Giacomo 22 00187 Roma [email protected] [email protected] p. 2: Francesco Guardi, The lagoon with the Forte di S. Andrea, cat. 20, www.cesarelampronti.com detail his exhibition and catalogue commemorates the one-hundred-year anniversary of Lampronti Gallery, founded in 1914 by my Grandfather and now one of the foremost galleries specialising in Italian Old TMaster paintings in the United Kingdom. We have, over the years, developed considerable knowledge and expertise in the field of vedute, or view paintings, and it therefore seemed fitting that this centenary ex- hibition be dedicated to our best examples of this great tradition, many of which derive from important pri- vate collections and are published here for the first time. More precisely, the exhibition brings together a fine selection of views of Venice, a city whose romantic canals and quality of light were never represented with greater sensitivity or technical brilliance than during the eigh- teenth century.
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Venice: Canaletto and His Rivals February 20, 2011 - May 30, 2011
Updated Friday, February 11, 2011 | 3:41:22 PM Last updated Friday, February 11, 2011 Updated Friday, February 11, 2011 | 3:41:22 PM National Gallery of Art, Press Ofﬁce 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Venice: Canaletto and His Rivals February 20, 2011 - May 30, 2011 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required(*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. File Name: 2866-103.jpg Title Title Section Raw File Name: 2866-103.jpg Iconografica Rappresentatione della Inclita Città di Venezia (Iconongraphic Iconografica Rappresentatione della Inclita Città di Venezia (Iconongraphic Representation of the Illustrious City of Venice), 1729 Display Order Representation of the Illustrious City of Venice), 1729 etching and engraving on twenty joined sheets of laid paper etching and engraving on twenty joined sheets of laid paper 148.5 x 264.2
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Gallery Painting in Italy, 1700-1800
Gallery Painting in Italy, 1700-1800 The death of Gian Gastone de’ Medici, the last Medici Grand Duke of Tuscany, in 1737, signaled the end of the dynasties that had dominated the Italian political landscape since the Renaissance. Florence, Milan, and other cities fell under foreign rule. Venice remained an independent republic and became a cultural epicenter, due in part to foreign patronage and trade. Like their French contemporaries, Italian artists such as Giovanni Battista Tiepolo, Francesco Guardi, and Canaletto, favored lighter colors and a fluid, almost impressionistic handling of paint. Excavations at the ancient sites of Herculaneum and Pompeii spurred a flood of interest in classical art, and inspired new categories of painting, including vedute or topographical views, and capricci, which were largely imaginary depictions of the urban and rural landscape, often featuring ruins. Giovanni Paolo Pannini’s paintings showcased ancient and modern architectural settings in the spirit of the engraver, Giovanni Battista Piranesi. Music and theater flourished with the popularity of the piano and the theatrical arts. The commedia dell’arte, an improvisational comedy act with stock characters like Harlequin and Pulcinella, provided comic relief in the years before the Napoleonic War, and fueled the production of Italian genre painting, with its unpretentious scenes from every day life. The Docent Collections Handbook 2007 Edition Francesco Solimena Italian, 1657-1747, active in Naples The Virgin Receiving St. Louis Gonzaga, c. 1720 Oil on canvas Bequest of John Ringling, 1936, SN 165 Giovanni Antonio Pellegrini Italian, 1675-1741, active in Venice The Entombment, 1719 Oil on canvas Bequest of John Ringling, 1936, SN 176 Amid the rise of such varieties of painting as landscape and genre scenes, which previously had been considered minor categories in academic circles, history painting continued to be lauded as the loftiest genre.
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The Age of Pleasure and Enlightenment European Art of the Eighteenth Century Increasingly Emphasized Civility, Elegance, Comfor
The Age of Pleasure and Enlightenment European art of the eighteenth century increasingly emphasized civility, elegance, comfort, and informality. During the first half of the century, the Rococo style of art and decoration, characterized by lightness, grace, playfulness, and intimacy, spread throughout Europe. Painters turned to lighthearted subjects, including inventive pastoral landscapes, scenic vistas of popular tourist sites, and genre subjects—scenes of everyday life. Mythology became a vehicle for the expression of pleasure rather than a means of revealing hidden truths. Porcelain and silver makers designed exuberant fantasies for use or as pure decoration to complement newly remodeled interiors conducive to entertainment and pleasure. As the century progressed, artists increasingly adopted more serious subject matter, often taken from classical history, and a simpler, less decorative style. This was the Age of Enlightenment, when writers and philosophers came to believe that moral, intellectual, and social reform was possible through the acquisition of knowledge and the power of reason. The Grand Tour, a means of personal enlightenment and an essential element of an upper-class education, was symbolic of this age of reason. The installation highlights the museum’s rich collection of eighteenth-century paintings and decorative arts. It is organized around four themes: Myth and Religion, Patrons and Collectors, Everyday Life, and The Natural World. These themes are common to art from different cultures and eras, and reveal connections among the many ways artists have visually expressed their cultural, spiritual, political, material, and social values. Myth and Religion Mythological and religious stories have been the subject of visual art throughout time.
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Francesco Guardi Masterpiece
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE | T h u r s d a y , 27 February, 20 14 FRANCESCO GUARDI MASTERPIECE VENICE, THE BACINO DI SAN MARCO WITH THE PIAZZETTA AND THE DOGE’S PALACE TO BE OFFERED FOR THE FIRST TIME IN OVER A CENTURY FROM THE BARON HENRI DE ROTHSCHILD COLLECTION AT CHRISTIE’S IN LONDON, JULY 2014 Francesco Guardi (1712-1793) Venice, the Bacino di San Marco with the Piazzetta and the Doge‟s Palace Oil on canvas 27 ⅜ x 40 ⅛ in. (69.5 x 102 cm.) Estimate: £8-10 million/ $13-16.5 million / €9.5-12 million London – Christie’s is proud to announce that Venice, the Bacino di San Marco with the Piazzetta and the Doge‟s Palace by Francesco Guardi (1712-1793) From The Baron Henri de Rothschild Collection will be offered for the first time in over a century, in the London Old Master & British Paintings Evening Sale, on Tuesday 8 July (estimate: £8-10 million/ $13-16.5 million / €9.5-12 million). Executed at the height of Guardi’s maturity and depicting one of the most celebrated prospects of Venice, centering on the Doge’s Palace, the caliber of this work is matched by its exceptional provenance. Originally in the collection of The Earls of Shaftesbury; it was acquired by Baron James-Edouard de Rothschild (1844-1881) and was in turn owned by his daughter Jeanne- Sophie-Henriette, Baronne Léonino (1875-1929) and then by her brother Baron Henri-James-Charles-Nathan de Rothschild (1872-1947), from whom it was inherited by the present owners.
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REMBRANDT's INFLUENCE in EIGHTEENTH CENTURY VENICE I Rembrandt's Influence on Venetian Painters and Etchers in the Eighteenth Ce
REMBRANDT'S INFLUENCE IN EIGHTEENTH CENTURY VENICE FRANKLIN W. ROBINSON I Rembrandt's influenceinfiuence on Venetian painters and etchers in the eighteenth century has been touched on but never fullyfuHy examined. A few students have dealt with the subjectIl , but it has not been the purpose of any of them to attempt a full-scalefuH-scale exploration of the many examples involved. Such is not the purpose of this short note; it is merely to suggest, by citing a few instances of Rem brandt's impact on the artists of the time, that he is a significant influenceinfiuence on Venetian art in its last great florescence.fiorescence. At first sight, such a role for Rembrandt seems incongruous, for he is the master of introspection and the expressive power of darkness. For him,hirn, ques tioning and self-doubt were the constant companions of self-confidence, and it would seem such a spirit would be alien to the grandiose, light-filledIight-filled productions that suited Venice so weIl in its gilded isolation at this time. Indeed, many of the best-known painters remained untouched by his power; Francesco and Giovanni Antonio Guardi, Canaletto, Pietro Longhi, Pellegrini, and Sebastiano and Marco Ricciz seem virtually unaware of his style. Among the most compelling reasons for the very real influenceinfiuence Rembrandt exercised on several eighteenth century Venetians, however, is the actual pres ence of many of his paintings and etchings in the city at the time. For example, there is evidence that two works by Rembrandt, "figure al naturale", were sold II Cf. Corrado Rieci, Rembrandt in Italia, Milan 1918; H.
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The Magical Light of Venice
The Magical Light of Venice Eighteenth Century View Paintings The Magical Light of Venice Eighteenth Century View Paintings The Magical Light of Venice Eighteenth Century View Paintings Lampronti Gallery - London 30 November 2017 - 15 January 2018 10.00 - 18.00 pm Catalogue edited by Acknowledgements Marcella di Martino Alexandra Concordia, Barbara Denipoti, the staff of Itaca Transport and staff of Simon Jones Superfright Photography Mauro Coen Matthew Hollow Designed and printed by De Stijl Art Publishing, Florence 2017 www.destijlpublishing.it LAMPRONTI GALLERY 44 Duke Street, St James’s London SW1Y 6DD Via di San Giacomo 22 00187 Roma On the cover: [email protected] Giovanni Battista Cimaroli, The Celebrations for the Marriage of the Dauphin [email protected] of France with the Infanta Maria Teresa of Spain at the French Embassy in www.cesarelampronti.com Venice in 1745, detail. his exhibition brings together a ﬁne selection of Vene- earlier models through their liveliness of vision and master- T tian cityscapes, romantic canals and quality of light ful execution. which have never been represented with greater sensitivity Later nineteenth-century painters such as Bison and Zanin or technical brilliance than during the wondrous years of reveal the profound inﬂuence that Canaletto and his rivals the eighteenth century. had upon future generations of artists. The culture of reci- The masters of vedutismo – Canaletto, Marieschi, Bellot- procity between the Italian Peninsula and England during to and Guardi – are all included here, represented by key the Grand Siècle, epitomised by the relationship between works that capture the essence and sheer splendour of Canaletto and Joseph Consul Smith, is a key aspect of the Venice.
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PRESS RELEASE from the FRICK COLLECTION
ARCHIVED PRESS RELEASE from THE FRICK COLLECTION 1 EAST 70TH STREET • NEW YORK • NEW YORK 10021 • TELEPHONE (212) 288-0700 • FAX (212) 628-4417 FRICK COLLECTION GALLERIES NOW FEATURE AN IMPORTANT NEW ACQUISITION AND THREE EXTENDED LOANS Fall at The Frick Collection brings new exhibitions and catalogues (this October being no exception with the long-awaited Riccio show). However, visitors are already finding fresh enticement to visit the celebrated permanent collection galleries, where four additional works are now on view. The acquisition by gift of the museum’s first painting by Gabriel de Saint-Aubin was approved at a meeting of the Board of Trustees in September, and now this jewel-like canvas, The Private Gabriel de Saint-Aubin (1724–1780), The Private Academy, c.1755, oil on panel, 13 1/2 x 15 in. (34.29 x 38.1 cm), The Frick Collection, gift of Irene Roosevelt Aitken, photo: Michael Bodycomb Academy, hangs in the North Hall. On view in the West Gallery are two long-term loans: Nicholas Poussin’s Hannibal Crossing the Alps and Francesco Guardi’s View of the Giudecca Canal and the Zattere, Venice, and in the Garden Court, visitors will find a dramatic, large-scale Meissen figure designed in the 1730s by the porcelain manufactory’s celebrated modeler Johann Gottleib Kirchner. Comments Director Anne Poulet, “We are pleased to offer our visitors the opportunity to enjoy four masterpieces by artists who are, for the most part, not otherwise represented in the permanent collection galleries of the Frick, works that are very much at home among the Old Master paintings and decorative arts gathered by Henry Clay Frick.” FIRST SAINT-AUBIN PAINTING TO ENTER A NYC MUSEUM COLLECTION With exceptional holdings in French eighteenth-century paintings from Watteau to David, the Frick is pleased to introduce into its permanent collection galleries a stunning canvas by Gabriel de Saint-Aubin (above).
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One of the Greatest Venetian View Paintings One of the Greatest Venetian View Paintings by Francesco Guardi by Francesco Guardi
Press Release London For Immediate Release London | +44 (0)20 7293 6000 Sarah Rustin| [email protected] Leyla Daybelge | [email protected] | Matthew Weigman | [email protected] New York | + 1 212 606 7176 | Diana Phillips | [email protected] Lauren Gioia | [email protected] One of the Greatest Venetian View Paintings by Francesco Guardi To LLeadead Sotheby’s London Old Master and British Paintings Evening Sale ononon July 6 ththth 2011 --------- N Newlyewly DDiscoverediscovered PPPaintingsPaintings by CorregCorregggggioio and Sir AntAnthhhhonyony Van Dyck WWWillWill Highlight a Spectacular AucAuctiontion of Rare and Important Works --------- Francesco Guardi,, Venice, a View of the Rialto Bridge, Looking North, from the Fondamenta del Carbon, oil on canvas, 120 x 203.7cm Estimated at £15-25 million* LONDON 27 ththth JUNE 2011 – On 6 th July 2011 , Sotheby’s London Old Master and British Paintings Evening Sale will offer a selection of newly discovered and important works of exceptional quality and rarity, many of which have remained in private collections for decades. Estimated to reach a total in excess of £31 million, the auction of 73 paintings, led by a monumental Venetian view painting by Francesco Guardi , will feature masterpiece works by Sir Anthony Van Dyck, Correggio, Pieter Brueghel the Younger, John Constable, Giovanni Battista Tiepolo, Hans Schäufelein and Frans Jansz. Post. Alex Bell, Sotheby’s Co-Chairman, Old Master Paintings, Worldwide, said : “It is unprecedented for Sotheby’s to offer in a single sale one of the greatest Venetian view paintings by Franesco Guardi, together with a newly discovered work by one of the key artists of the Italian Renaissance, Correggio, as well as two newly identified paintings by Sir Anthony Van Dyck.
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Antonio Ghini and Andrea Di Francesco Guardi: Two 15Th-Century Tuscan Artists in the Service of Local Governments
Antonio Ghini and Andrea di Francesco Guardi: Two 15th-century Tuscan Artists in the Service of Local Governments Sandra Cardarelli Although the medieval and renaissance artist dwelled within a rigidly structured society whereby his life and work were strictly related to his affiliation to a guild, a confraternity, a political faction or some other form of corporate association that could grant him identity and protection, his world was far from restricted by the geographical boundaries of his city.1 Maginnis argued that early Sienese painters enjoyed great fame outside their native city thanks to foreign patrons.2 Simone Martini left Siena at the apex of his career as favourite painter of the commune to work for mendicant orders in Pisa, Orvieto and Assisi, and then at the service of the Angevins in Naples before moving to the papal court in Avignon.3 Likewise, the case of the Florentine sculptor Donatello, who worked in the rival city of Siena by request of a petition of the Balia in 1457,4 demonstrates that the wish to commission art This paper draws from material researched for my doctoral thesis: Siena and its contado: Art, Iconography and Patronage in the Diocese of Grosseto from c. 1380 to c. 1480, University of Aberdeen, PhD, 2011. A specific section in the thesis discusses the work of travelling artists in the diocese of Grosseto, and this first approach to the notion of artists and travel was later developed further and resulted in the session ‘Travelling artists in medieval and Renaissance Europe’ at the 38th annual conference of the Association of Art Historians, Milton Keynes, 29-31 March 2012.
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Venetian Drawings from Renaissance Through 19Th Century National Gallery of Art, Washington April 30−October 1, 2006
Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: April 24, 2006 Venetian Drawings from Renaissance through 19th Century National Gallery of Art, Washington April 30−October 1, 2006 Francesco Zuccarelli A Boy Smiling, c 1748 chalk, 20.5 x 15.6 cm National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1987.10.1 Washington, DC—More than 130 drawings, watercolors, and pastels from the National Gallery's outstanding collection survey some of the best works by Venetian artists from the Renaissance through the 19th century. The Poetry of Light: Venetian Drawings from the National Gallery of Art confirms that Venice produced some of the finest artists in history and demonstrates the widespread influence of this enchanting Italian city. The exhibition will be on view on the Ground Floor of the West Building from April 30 through October 1, 2006. “The National Gallery of Art is delighted to have this opportunity to display superb drawings produced by Venetian artists. This exhibition will be a natural complement to our upcoming paintings exhibition Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting,” said Earl A. Powell III, director, National Gallery of Art. “We are deeply grateful to the numerous donors whose generosity has made it possible for the National Gallery to build an excellent collection of Venetian drawings.” The exhibition is organized by the National Gallery of Art, Washington. The Exhibition The exhibition begins with exceedingly rare drawings by the foremost masters of the late 15th century: Andrea Mantegna, Giovanni Bellini, and Vittore Carpaccio.
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