Art/ Collection/ Collection/ Art Object

Venice from the Bacino di San Marco

Artist:
Francesco Guardi (Italian, Venice 1712–1793 Venice)
Date:
ca. 1760
Medium:
Oil on canvas
Dimensions:
48 x 60 in. (121.9 x 152.4 cm)
Classification:
Paintings
Credit Line:
Bequest of Adele L. Lehman, in memory of Arthur Lehman, l965
Accession Number:
65.181.8
On view at The Met Fifth Avenue in Gallery 619
Guardi's view from the island of San Giorgio Maggiore, shows the Libreria, the Piazzetta, the Doge's Palace, and the Riva degli Schiavoni. It seems to have been preceded by a large painting of the same scene which is now at Waddesdon Manor, and which can be dated to the early 1760s. The delicate pattern of white threads by the oars of the gondolas and the mooring lines of the ships is typical of the artist.
Forthcoming
Sir Sigmund Neumann, 1st Baronet, London (by 1904–d. 1916); his widow, Lady Neumann (later Newman), London (1916–d. 1951); their son, Sir Cecil Newman, 2nd Baronet, Burloes, Royston, Hertfordshire (1951–d. 1955); [Knoedler, New York; Marlborough, London; and Pinakos, Inc. (Rudolf J. Heinemann); 1958–59; sold for $205,000 to Lehman]; Mrs. Arthur (Adele L.) Lehman, New York (1958–d. 1965)
London. Thomas Agnew & Sons, Ltd. "Loan Exhibition of Thirty-Nine Masterpieces of Venetian Painting," May 20–June 27, 1953, no. 17 (as "A View of the Riva with the Doge's Palace and the Campanile").

London. Royal Academy of Arts. "European Masters of the Eighteenth Century," November 27, 1954–February 27, 1955, no. 33 (as "The Bacino di San Marco with the Molo and Doge's Palace," lent by Sir Cecil Newman, Bt.).

New York. The Metropolitan Museum of Art. "Paintings from Private Collections: Summer Loan Exhibition," July 6–September 4, 1960, no. 55 (as "View of Venice," lent by Mrs. Arthur Lehman).

New York. Harvard Club. "Great Treasures from Private Collections of the Harvard Family, I," March 1965, unnum. checklist [see Ref. Virch 1965].

New York. The Metropolitan Museum of Art. "Venetian Paintings in the Metropolitan Museum," May 1–September 2, 1974, no catalogue.

Shizuoka Prefectural Museum of Art. "Landscape Painting in the East and West," April 19–June 1, 1986, no. 5.

Kobe City Museum. "Landscape Painting in the East and West," June 7–July 13, 1986, no. 5.

Amsterdam. Rijksmuseum. "Painters of Venice: The Story of the Venetian 'Veduta'," December 15, 1990–March 10, 1991, no. 40.

London. National Gallery. "Venice: Canaletto and His Rivals," October 13, 2010–January 16, 2011, no. 55.

Washington. National Gallery of Art. "Venice: Canaletto and His Rivals," February 20–May 30, 2011, no. 55.

Venice. Museo Correr. "Francesco Guardi, 1712–1793," September 29, 2012–January 6, 2013, no. 40 (as "Il molo e la riva degli Schiavoni dal bacino di San Marco").

George A. Simonson. Francesco Guardi, 1712–1793. London, 1904, p. 90, as in the collection of Mr. S. Neumann, London.

J[ames]. Byam Shaw. "Guardi at the Royal Academy." Burlington Magazine 97 (January 1955), p. 15, calls it a smaller variant of the picture at Waddesdon Manor, Hertfordshire, and dates it slightly later than that work, perhaps about 1765; also mentions a third much smaller version, formerly at the museum in Strasbourg, destroyed during World War II.

Francis Watson. "Venetian Paintings at the Royal Academy 1954–55." Arte veneta 9 (1955), p. 259, dates this work and the version formerly in Strasbourg a little later than the picture at Waddesdon Manor.

Antonio Morassi. "Novità su Francesco Guardi." Arte veneta 13–14 (1959–60), p. 164, fig. 219, calls it a masterpiece of Guardi's middle period, dating it between 1755 and 1760.

Claus Virch. The Adele and Arthur Lehman Collection. New York, 1965, pp. 52, 55, ill. pp. 53 (color), 55 (detail), notes that it must date from 1755 or later, since that is the date that the third story of the clock tower in the Piazza San Marco was added; mentions three more versions of the composition: Captain H. E. Rimington-Wilson, London; formerly George A. Hearn, New York; and Isabella Stewart Gardner Museum, Boston; suggests that the MMA painting may have had a pendant showing the view from San Giorgio Maggiore to Santa Maria della Salute, as does the Waddesdon Manor picture and as did the Strasbourg painting.

Theodore Rousseau in "Ninety-fifth Annual Report of the Trustees, for the Fiscal Year 1965–1966." Metropolitan Museum of Art Bulletin 25 (October 1966), p. 77, ill. p. 61, dates it about 1760.

Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 96, 493, 609.

Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, pp. 32–33, pl. 35, date it to the early 1760s.

Antonio Morassi. Guardi: Antonio e Francesco Guardi. Venice, [1973?], vol. 1, pp. 239–40, 384, no. 392; vol. 2, fig. 416, mistakenly states that it was formerly in the collection of Robert Lehman.

Luigina Rossi Bortolatto. L'opera completa di Francesco Guardi. Milan, 1974, p. 99, no. 165, ill.

Michelangelo Muraro. "Giacomo Guardi." Colóquio, 2nd ser., 16 (December 1974), p. 18, includes it with a group of paintings that he identifies as late works by Giacomo Guardi.

Anthony M. Clark in The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 83, ill.

Dario Succi in Guardi: metamorfosi dell'immagine. Exh. cat., Castello di Gorizia. Venice, 1987, p. 65, fig. 54.

Ewoud Mijnlieff in Painters of Venice: The Story of the Venetian 'Veduta'. Exh. cat., Rijksmuseum. Amsterdam, 1990, pp. 219–20, 225–26, no. 40, ill. pp. 219 (black and white) and 247 (color).

Boudewijn Bakker in Painters of Venice: The Story of the Venetian "Veduta". Exh. cat., Rijksmuseum. Amsterdam, 1990, p. 111, under no. 10.

Dario Succi. Francesco Guardi: itinerario dell'avventura artistica. [Milan], 1993, p. 49, fig. 47, dates it 1768–70.

Amanda Bradley et al. in Venice: Canaletto and His Rivals. Exh. cat., National Gallery. London, 2010, pp. 162, 165, 187, no. 55, colorpl. 55, date it about 1765–67.

Canaletto Guardi: Les deux maîtres de Venise. Ed. Bozena Anna Kowalczyk. Exh. cat., Musée Jacquemart-André. Brussels, 2012, pp. 36–37 n. 37, fig. 8 (color).

Charles Beddington in Francesco Guardi, 1712–1793. Ed. Alberto Craievich and Filippo Pedrocco. Exh. cat., Museo Correr, Venice. Milan, 2012, p. 133, no. 40, ill. on cover and pp. 115–17, 133 (color, overall and details).

F[rancis]. R[ussell]. in Old Master & British Paintings: Evening Sale. Christie's, London. July 8, 2014, p. 68, dates it after 1770, along with other versions of the subject in the Musée Camondo, Paris, the Isabella Stewart Gardner Museum, Boston, and three in the Gulbenkian Foundation, Lisbon.



Guardi painted several versions of this composition, including the following pictures:

Waddesdon Manor, Hertfordshire (112 x 167 in.);

formerly Musée des Beaux-Arts, Strasbourg, destroyed during World War II (47 1/2 x 79 in.);

Isabella Stewart Gardner Museum, Boston (20 x 33 1/2 in.);

sold, Sotheby's, New York, June 5, 2002, no. 105 (24 x 28 3/4 in.).
Related Objects

Architectural Capriccio: Vaulted Passageway Leading to a Square

Artist: Francesco Guardi (Italian, Venice 1712–1793 Venice) Date: 1712–93 Medium: Pen and brown ink, brush and brown wash, over traces of black chalk. Framing lines in pen and brown ink Accession: 37.165.83 On view in:Not on view

The Fire at San Marcuola (recto); Roman Ruins (verso)

Artist: Francesco Guardi (Italian, Venice 1712–1793 Venice) Date: 1712–93 Medium: Pen and brown ink, brush and brown wash, over black chalk (recto). Framing lines in pen and brown ink. Pen and brown ink, brush and brown wash, over black chalk. Framing lines in pen and brown ink at the left, top and bottom border in graphite at the right border (verso) Accession: 37.165.74 On view in:Not on view

The Fenice Theater in Venice (recto); Fragment of a Larger Drawing Representing Part of a Column and a Cornice (verso)

Artist: Francesco Guardi (Italian, Venice 1712–1793 Venice) Date: 1712–1835 Medium: Pen and brown ink, brush with brown and gray wash over traces of black chalk (recto); pen and brown ink, brush and gray wash (verso) Accession: 37.165.73 On view in:Not on view

The Island of Anconetta (recto); Two Feet Wearing Pointed Shoes (verso)

Artist: Francesco Guardi (Italian, Venice 1712–1793 Venice) Date: 1712–93 Medium: Pen and brown ink, brush with brown and gray wash, over red chalk (recto); at upper border appear two feet wearing pointed shoes, pricked for transfer and executed in brush and brown, blue, and yellow wash (verso) Accession: 37.165.84 On view in:Not on view

Architectural Capriccio: A Palace Colonnade.

Artist: Francesco Guardi (Italian, Venice 1712–1793 Venice) Date: 1712–93 Medium: Pen and brown ink, brush and brown wash over black chalk. Framing outlines in pen and brown ink Accession: 37.165.76 On view in:Not on view