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拍品专文
Antonio Morassi dates the present painting to Guardi’s mature period, around 1760-70 (loc. cit.). It is one from a group of three Venetian views all of similar size and all formerly in the Beurnonville and Marmontel Collections: The Piazza San Marco with the Basilica and Campanile now in the Schäffer Collection, Zurich (Morassi no. 33) and The Molo looking East, formerly on the London art market (not listed in Morassi). All three were illustrated in the Marmontel sale catalogue.
Conceived on an intimate scale and executed with the utmost refinement, this view painting portrays one of the most celebrated sites in Venice – the Molo, the wharf just west of the Doge’s Palace. The column of St. Theodore appears at right against the Libreria Sansoviniana. This magnificent flowering of High Renaissance architecture was Jacopo Sansovino’s finest achievement, and was deemed by Palladio to be the most beautiful building since antiquity. Across the water at left appear the Punta della Dogana and the church of Santa Maria della Salute, the masterpiece of Baldassare Longhena that was built between 1631 and 1687 to commemorate the Virgin’s deliverance of the city from the plague of 1630. Along the Riva degli Schiavoni, from left to right, are the Republican Granaries (pulled down around 1814 to make way for public gardens) and the rusticated Doric façade of the Zecca (Mint), finished in 1547 by Sansovino on the site of the original thirteenth-century building.
While Guardi customarily worked on canvas, he occasionally employed relatively pale soft-wood panels for works on a small scale, possibly influenced by the practice of Dutch painters of the previous century for whose work there was a significant market in Venice. The use of such supports meant that it was possible to achieve sharp detail of the kind evidenced in both the architecture and the figures in these works.
The collection of the baron de Beurnonville was among the most distinguished formed in France in the second half of the nineteenth century. Dispersed in sales between 1872 and 1906, it comprised more than 1,000 paintings as well as drawings and works of art. The majority were by or attributed to Northern artists active in the fifteenth, sixteenth and seventeenth centuries, including works given to such luminaries as Jan van Eyck, Hugo van der Goes, Rogier van der Weyden, Hans Memling, Jan Gossaert, Hendrick Goltzius, Sir Peter Paul Rubens and Jacob van Ruisdael, as well as Rembrandt's Landscape with an Obelisk of 1638 (Isabella Stewart Gardner Museum, Boston). French painting was represented by works like Drouais' Portrait of Madame de Pompadour (National Gallery, London) as well as paintings by Chardin, Fragonard, Ingres and Delacroix, whilst works by Italian artists included Tiepolo's Apotheosis of Aeneas (possibly Harvard Art Museums, Cambridge, MA) and Triumph of Flora (Fine Arts Museums of San Francisco, M.H. de Young Memorial Museum).
Conceived on an intimate scale and executed with the utmost refinement, this view painting portrays one of the most celebrated sites in Venice – the Molo, the wharf just west of the Doge’s Palace. The column of St. Theodore appears at right against the Libreria Sansoviniana. This magnificent flowering of High Renaissance architecture was Jacopo Sansovino’s finest achievement, and was deemed by Palladio to be the most beautiful building since antiquity. Across the water at left appear the Punta della Dogana and the church of Santa Maria della Salute, the masterpiece of Baldassare Longhena that was built between 1631 and 1687 to commemorate the Virgin’s deliverance of the city from the plague of 1630. Along the Riva degli Schiavoni, from left to right, are the Republican Granaries (pulled down around 1814 to make way for public gardens) and the rusticated Doric façade of the Zecca (Mint), finished in 1547 by Sansovino on the site of the original thirteenth-century building.
While Guardi customarily worked on canvas, he occasionally employed relatively pale soft-wood panels for works on a small scale, possibly influenced by the practice of Dutch painters of the previous century for whose work there was a significant market in Venice. The use of such supports meant that it was possible to achieve sharp detail of the kind evidenced in both the architecture and the figures in these works.
The collection of the baron de Beurnonville was among the most distinguished formed in France in the second half of the nineteenth century. Dispersed in sales between 1872 and 1906, it comprised more than 1,000 paintings as well as drawings and works of art. The majority were by or attributed to Northern artists active in the fifteenth, sixteenth and seventeenth centuries, including works given to such luminaries as Jan van Eyck, Hugo van der Goes, Rogier van der Weyden, Hans Memling, Jan Gossaert, Hendrick Goltzius, Sir Peter Paul Rubens and Jacob van Ruisdael, as well as Rembrandt's Landscape with an Obelisk of 1638 (Isabella Stewart Gardner Museum, Boston). French painting was represented by works like Drouais' Portrait of Madame de Pompadour (National Gallery, London) as well as paintings by Chardin, Fragonard, Ingres and Delacroix, whilst works by Italian artists included Tiepolo's Apotheosis of Aeneas (possibly Harvard Art Museums, Cambridge, MA) and Triumph of Flora (Fine Arts Museums of San Francisco, M.H. de Young Memorial Museum).