Art/ Collection/ Art Object

Santa Maria della Salute

Artist:
Francesco Guardi (Italian, Venice 1712–1793 Venice)
Date:
ca. 1760
Medium:
Oil on canvas
Dimensions:
21 x 33 3/4 in. (53.3 x 85.7 cm)
Classification:
Paintings
Credit Line:
Purchase, 1871
Accession Number:
71.120
Not on view
One of the most famous sites in Venice, Baldassarre Longhena's church of Santa Maria della Salute is flanked on the left by the Seminario Patriarcale and on the right by the Abbazia di San Gregorio, at the end of the Grand Canal towards the Bacino di San Marco. The baroque church dominates the entrance to the Canal. The canvas is a pendant of the view of the Grand Canal above the Rialto (71.119
Inscription: Inscribed (reverse, upper left, in a later hand): dalla / Veduta Salute in Venezia / del F.co Guardi (view of the Salute in Venice by Francesco Guardi)
?Anthony Ashley-Cooper, 5th Earl of Shaftesbury, Wimborne St. Giles, Dorset (until d. 1811); ?his brother, Cropley Ashley-Cooper, 6th Earl of Shaftesbury, Wimborne St. Giles (1811–d. 1851); ?his son, Anthony Ashley-Cooper, 7th Earl of Shaftesbury, Wimborne St. Giles (1851–at least 1869); [Léon Gauchez, Paris, with Alexis Febvre, Paris, until 1870; sold to Blodgett]; William T. Blodgett, Paris and New York (1870–71; sold half share to Johnston); William T. Blodgett, New York, and John Taylor Johnston, New York (1871; sold to MMA)
Detroit Institute of Arts. "Thirty-Eight Great Paintings from The Metropolitan Museum of Art," October 2–28, 1951, no catalogue.

Art Gallery of Toronto. "Thirty-Eight Great Paintings from The Metropolitan Museum of Art," November 14–December 12, 1951, no catalogue.

City Art Museum of St. Louis. "Thirty-Eight Great Paintings from The Metropolitan Museum of Art," January 6–February 4, 1952, no catalogue.

Seattle Art Museum. "Thirty-Eight Great Paintings from The Metropolitan Museum of Art," March 1–June 30, 1952, no catalogue.

Milwaukee Auditorium. "Metropolitan Art Museum $1,000,000 Masterpiece Exhibition," March 7–14, 1953, unnumbered cat. (p. 18).

Austin, Tex. City Coliseum. "Texas Fine Arts Festival: Metropolitan Museum $1,000,000 Collection of Old Masters," April 18–26, 1953, not on checklist.

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

Anthony Ashley-Cooper, 7th Earl of Shaftesbury. Diary entry. 1869 [see letter of July 23, 1973 in archive file], in a list of the collection of paintings at St. Giles House, includes two separate entries reading "View in Venice by Guardi - bought in Venice by 5th Earl," possibly these two pendants.

[Henry James]. "Art: The Dutch and Flemish Pictures in New York." Atlantic Monthly 29 (June 1872), p. 763 [reprinted in John L. Sweeney, ed., "The Painter's Eye," London, 1956, p. 65].

F[ritz von]. Harck. "Berichte und Mittheilungen aus Sammlungen und Museen, über staatliche Kunstpflege und Restaurationen, neue Funde: Aus amerikanischen Galerien." Repertorium für Kunstwissenschaft 11 (1888), p. 73.

B[ernard]. Berenson. "Les peintures italiennes de New-York et de Boston." Gazette des beaux-arts, 3rd ser., 15 (March 1896), p. 199, mentions two excellent paintings by Guardi in the Museum's collection.

Bernhard Berenson. The Venetian Painters of the Renaissance. 3rd ed. New York, 1897, p. 102.

George A. Simonson. Francesco Guardi, 1712–1793. London, 1904, p. 93, no. 170.

Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 275, ill., calls it a pendant to "The Grand Canal above the Rialto" (MMA, 71.119) and notes that both pictures are early works.

J[ames]. Byam Shaw. "Guardi at the Royal Academy." Burlington Magazine 97 (January 1955), p. 15 n. 5.

Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 96, 493, 605.

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, p. 29, pl. 27, call it an early work and note that this is not the subject usually chosen by Guardi as pendants to his various versions of the Grand Canal above the Rialto.

Antonio Morassi. Guardi: Antonio e Francesco Guardi. Venice, [1973?], vol. 1, pp. 243, 398, no. 465; vol. 2, fig. 471, dates it to Guardi's mature period.

Luigina Rossi Bortolatto. L'opera completa di Francesco Guardi. Milan, 1974, pp. 101–2, no. 210, ill., dates it to Guardi's early maturity.

Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 9, 18, 353, fig. 21 (color).

Katharine Baetjer. "Buying Pictures for New York: The Founding Purchase of 1871." Metropolitan Museum Journal 39 (2004), pp. 173, 182, 218, 244–45, appendix 1A no. 146, ill. p. 218 and fig. 24.

Katharine Baetjer in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, p. 58 [Catalan ed., Barcelona, 2006, p. 40].

Katharine Baetjer in Canaletto: Venezia e i suoi splendori. Ed. Giuseppe Pavanello and Alberto Craievich. Exh. cat., Casa dei Carraresi, Treviso. Venice, 2008, p. 284.

F[rancis]. R[ussell]. in Old Master & British Paintings: Evening Sale. Christie's, London. July 8, 2014, p. 70, dates this work and its pendant (71.119) about 1782–84; identifies the two works as the smaller of two pairs of views of Venice included in an undated catalogue of pictures in the Shaftesbury collection at St. Giles, where they are valued at £30.



Viewed from across the Grand Canal, the church of Santa Maria della Salute is flanked on the left by the Seminario Patriarcale and on the right by the Abbazia di San Gregorio. In the left foreground is the Dogana.

The picture is a pendant to The Grand Canal above the Rialto (71.119).
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