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City View
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City_View
The Hermitage, St.Petersburg
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An Architectural Caprice
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An_Architectural_Caprice
c1770/80
National Gallery, London
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The Doge of Venice goes to the Salute on 21 November to Commemorate the end of the Plague of 1630
Francesco Guardi3.jpg
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The_Doge_of_Venice_goes_to_the_Salute_on_21_November_to_Commemorate_the_end_of_the_Plague_of_1630
1766-70
Musee du Louvre, Paris
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The Bucentaur Departs for the Lido on Ascension Day
Francesco Guardi4.jpg
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The_Bucentaur_Departs_for_the_Lido_on_Ascension_Day
1766-70
Musee du Louvre, Paris
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The Doge in the Bucentaur at San Nicolo di Lido on Ascension Day
Francesco Guardi5.jpg
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The_Doge_in_the_Bucentaur_at_San_Nicolo_di_Lido_on_Ascension_Day
1766-70
Musee du Louvre, Paris
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Francesco_Guardi
1712-1793
Italian
Francesco Guardi Galleries
Francesco Guardi was born in Venice into a family of lesser nobility from Trentino. His father Domenico (born in 1678) and his brothers Niccolo 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.
In 1735, Guardi moved to the workshop of Michele Marieschi, where he remained until 1743. His first certain works is from 1738, for a parish at Vigo d'Anuania, in Trentino. In this period he worked alongside his better-known brother, Gian Antonio. The first work signed by Francesco is a Saint Adoring the Eucarist (circa 1739).
His works in this period included landscapes as well as figure representations. His early vedutas show influence both from Canaletto and Luca Carlevarijs. On February 15, 1757 he married Maria Mattea Pagani, the daughter of painter Matteo Pagani. In the same year 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 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 showed 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.
Miracle of a Dominicane Saint (1763), Lugano, private collection.In 1782 Guardi was commissioned by the Venetian government six canvases to celebrate the visit of the Russian Archdukes in 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 the Accademia Carrara of Bergamo.
Guardi died at Venice in 1793.
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