Alma Tadema's Oil Paintings
	Alma Tadema Museum 8 January 1836 – 25 June 1912. Most renowned painters.
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Here are all the paintings of GUARDI, Francesco 01

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
7189		An Architectural Caprice	before 1777 Oil on canvas, 54 x 36 cm National Gallery, London
63057		Audience Granted by the Doge	1766-70 Oil on canvas, 66 x 100 cm Musee du Louvre, Paris The painting depicts the audience granted by the Doge to the ambassadors in the Sala del Collegio of the Doge's Palace in Venice. Artist: GUARDI, Francesco Painting Title: Audience Granted by the Doge , 1751-1800 Painting Style: Italian , , landscape
7167		Audience Granted by the Doge dfh	1766-70 Oil on canvas, 66 x 100 cm Mus??e du Louvre, Paris
7152		Campo Santi Giovanni e Paolo fh	1762-63 Oil on canvas, 72 x 120 cm Mus??e du Louvre, Paris
7181		Capriccio with Venetian Motifs sg	1760s Oil on canvas, 33 x 51 cm Museo di Castelvecchio, Verona
7172		Carnival Thursday on the Piazzetta dgs	1766-70 Oil on canvas, 67 x 100 cm Mus??e du Louvre, Paris
7188		Doge Alvise IV Mocenigo Appears to the People in St Mark s Basilica in 1763	1775-77 Oil on canvas, 67 x 100 cm Mus??es Royaux des Beaux-Arts, Brussels
44408		Doge Alvise IV Mocenigo Appears to the People in St Mark's Basilica in 1763	1775-77 Oil on canvas, 67 x 100 cm
7205		Fire in the Oil Depot at San Marcuola dg	1789 Oil on canvas, 42 x 62 cm Alte Pinakothek, Munich
7207		Fire in the San Marcuola Oil Depot sdg	1789 Oil on canvas Gallerie dell'Accademia, Venice
63060		Gondola	25 x 38 cm Museo Poldi Pezzoli, Milan The lonely gondola is seen in the lagoon at the Fondamente Nuove, in front of the islands of San Cristoforo and San Michele. Artist: GUARDI, Francesco Painting Title: Gondola , 1751-1800 Painting Style: Italian , , landscape
7185		Gondola in the Lagoon dfhg	1765-70 Oil on canvas, 25 x 38 cm Museo Poldi Pezzoli, Milan
7138		Il Ridotto (The Foyer) dgh	1755 Oil on canvas Museo del Settecento Veneziano, Ca' Rezzonico, Venice
44414		Ladies Concert at the Philharmonic Hall	1782 Oil on canvas, 68 x 91 cm
63059		Landscape	120 x 152 cm The Hermitage, St. Petersburg One of the rare compositions of the artist not containing archtectural elements. Artist: GUARDI, Francesco Painting Title: Landscape , 1751-1800 Painting Style: Italian , , landscape
7194		Landscape sdg	c. 1780 OIl on canvas, 120 x 152 cm The Hermitage, St. Petersburg
7186		Landscape with a Fisherman s Tent	1770-75 Oil on canvas, 49 x 77 cm Fondazione Cagnola, Villa Gazzada, Gazzada
44407		Landscape with a Fisherman-s Tent	1770-75 Oil on canvas, 49 x 77 cm
7141		Nighttime Procession in Piazza San Marco fdh	1758 Oil on canvas, 48 x 85 cm Ashmolean Museum, Oxford
7198		Outward Voyage of the Bucintoro to San Nicol del Lido dfg	1785-88 Oil on canvas, 50 x 80 cm Private collection
85143		Pharaohs Daughter after Palma Il	oil on Canvas cyf
7191		Piazza di San Marco (detail) dh	1777 Oil on canvas Gulbenkian Foundation, Lisbon
7190		Piazza di San Marco dfh	1777 Oil on canvas, 61 x 91 cm Gulbenkian Foundation, Lisbon
7182		Piazza San Marco sdgh	1760s Oil on canvas, 62 x 96 cm Accademia Carrara, Bergamo
7195		Pope Pius VI Blessing the People on Campo Santi Giovanni e Paolo sdg	1782 Oil on canvas, 63,5 x 78,5 cm Ashmolean Museum, Oxford
44409		Rio dei Mendicanti	1780 Oil on canvas, 19,5 x 15 cm
7139		San Cristoforo, San Michele and Murano, Seen from the Fondamenta Nuove sh	1755-60 Oil on canvas, 60,5 x 91 cm Kunsthaus, Zurich
7170		The Coronation of the Doge dfg	1766-70 Oil on canvas, 66 x 101 cm Mus??e du Louvre, Paris
7168		The Doge at the Basilica of La Salute gd	1766-70 Oil on canvas, 68 x 100 cm Mus??e du Louvre, Paris
63058		The Doge on the Bucentaur at San Niccol del Lido	1766-70 Oil on canvas, 67 x 100 cm Musee du Louvre, Paris This painting belongs to a series of twelve canvases, almost all in the Louvre, which recount the various episodes in the election of Doge Alvise Mocenigo of Venice in 1763. In reporting this event Guardi was inspired by engravings after the other master of the Venetian veduta (view), Antonio Canaletto. An observant and picturesque record of the traditional Venetian festival, which was part official ceremony and part popular rejoicing, this series attests to the pictorial verve of Guardi and to his sensitivity to the most fleeting atmospheric effects, worthy of the Impressionists over a century later. Artist: GUARDI, Francesco Painting Title: The Doge on the Bucentaur at San Niccol?del Lido , 1751-1800 Painting Style: Italian , , landscape
7169		The Doge on the Bucentaur at San Niccol del Lido dfh	1766-70 Oil on canvas, 67 x 100 cm Musee du Louvre, Paris
7184		The Doge on the Bucintoro near the Riva di San Elena (detail)	1766-70 Oil on canvas, 66 x 100 cm (whole painting) Mus??e du Louvre, Paris
7183		The Doge on the Bucintoro near the Riva di Sant Elena	1766-70 Oil on canvas, 66 x 100 cm Mus??e du Louvre, Paris
44406		The Doge on the Bucintoro near the Riva di Sant-Elena	Oil on canvas, 66 x 100 cm
7187		The Feast of the Ascension fdh	c. 1775 Oil on canvas, 48 x 78 cm Gulbenkian Foundation, Lisbon
7149		The Giudecca Canal with the Zattere dgh	c. 1759 Oil on canvas, 72 x 120 cm Private collection
7161		The Grand Canal at the Fish Market (Pescheria) dg	c. 1765 Oil on canvas, 56 x 75 cm Pinacoteca di Brera, Milan
7197		The Grand Canal with San Simeone Piccolo and Santa Lucia sdg	1780s Oil on canvas, 48 x 78 cm Thyssen-Bornemisza Collection, Madrid
7196		The Grand Canal with Santa Lucia and the Scalzi dfh	1780s Oil on canvas, 48 x 78 cm Thyssen-Bornemisza Collection, Madrid
7159		The Grand Canal, Looking toward the Rialto Bridge sg	c. 1765 Oil on canvas, 56 x 75 cm Pinacoteca di Brera, Milan
7150		The Lagoon from the Fondamenta Nuove serg	c. 1759 Oil on canvas, 72 x 120 cm Private collection
7164		The Lagoon Looking toward Murano from the Fondamenta Nuove sdg	1765-70 Oil on canvas, 31,7 x 52,7 cm Fitzwilliam Museum, Cambridge
7144		The Lagoon with Boats, Gondolas, and Rafts kug	c. 1758 Oil on canvas, 33 x 54 cm Private collection
7156		The Molo and the Riva degli Schiavoni from the Bacino di San Marco dfg	1760-65 Oil on canvas, 122 x 152,5 cm Metropolitan Museum of Art, New York
7209		The Molo and the Riva degli Schiavoni from the Bacino di San Marco sdg	c. 1760 Drawing Private collection
7157		The Piazza San Marco towards the Basilica dfh	1760-65 Oil on canvas, 72,5 x 119 cm National Gallery, London
63055		The Piazzetta	1758 Oil on canvas, 49 x 83,5 cm Museo Civico, Treviso This painting is one of the earliest views of Venice painted by Francesco Guardi. Artist: GUARDI, Francesco Painting Title: The Piazzetta, Looking toward San Giorgio Maggiore , 1751-1800 Painting Style: Italian , , landscape
7143		The Piazzetta, Looking toward San Giorgio Maggiore dh	c. 1758 Oil on canvas, 49 x 83,5 cm Museo Civico, Treviso
7154		The Rialto Bridge with the Palazzo dei Camerlenghi dg	c. 1763 Oil on canvas, 60 x 91 cm Private collection
7162		The Three-Arched Bridge at Cannaregio sdg	1765-70 Oil on canvas National Gallery of Art, Washington
7165		The Torre del Orologio	1765-70 Oil on canvas, 62,5 x 89,4 cm Akademie der bildenden K??nste, Vienna
7210		The Torre del Orologio sdg	1765-70 Drawing Mus??e du Petit Palais, Paris
63056		The Torre del'Orologio	1765-70 Oil on canvas, 62,5 x 89,4 cm Akademie der bildenden K?nste, Vienna Ever since the early sixteenth century the view of Piazza San Marco has been partly determined by the Torre dell'Orologio, the construction of which was largely completed in 1506. Francesco Guardi represented the building here with the two storeys added to the wings in 1755. To the left of this is part of the Procuratie Vecchie, which at that time accommodated the procurators of San Marco, the most important representative magistracy after the Doge; on the right is the Basilica itself. It is striking that the square does not display the geometrical patterns of the paving which was laid in about 1723. Guardi recorded the view from a vantage point beyond the Campanile, though he adapted the result of his observations somewhat for the sake of the composition. By placing the walls of the Procuratie and the Torre parallel to the picture plane, the angle between these structures and the fa?ade of San Marco appear greater than in reality. This also has the effect of making the square much more spacious. There are also several details which do not entirely correspond with the actual situation, such as the three flagstaffs, which have been depicted lower and thinner than in actuality. A drawing by Guardi has been preserved that is virtually identical in terms of detail to the painting. Despite the prominent place of the Torre dell'Orologio it was seldom chosen as an independent motif by the Venetian vedutisti. Carlevaris and Canaletto did include it in paintings, but only as an incidental feature, and furthermore from a different angle. Francesco Guardi painted this theme at least eight times, always from virtually the same vantage point. Each time he gave a slightly different impression of the space by varying the relationships, the light and the positioning of the figures. In this painting the foreground is almost empty and the depth is only accentuated by the strikingly foreshortened fa?ade of San Marco and the lines of the three flagstaffs running parallel to it, and by the tents fluttering fitfully in the wind. In this simple composition Guardi emphasized the play of light and colour on the walls and the pavement. Artist: GUARDI, Francesco Painting Title: The Torre del'Orologio , 1751-1800 Painting Style: Italian , , landscape
44413		The Torre del-Orologio	1765-70 Oil on canvas, 62,5 x 89,4 cm
7193		View of Piazzetta San Marco towards the San Giorgio Maggiore sdg	1770s Oil on canvas Galleria Franchetti, Ca' d'Oro, Venice

GUARDI, Francesco

Italian Rococo Era Painter, 1712-ca.1793 The records of his parish in Venice show that Francesco Guardi was baptized on Oct. 5, 1712. His father, Domenico, who died when Francesco was 4, had a workshop. Francesco and his elder brother, Gian Antonio, worked in a small studio, carrying out such orders as they could get for almost anything the client wanted:mythological pictures, genre, flower pieces, battle scenes, altarpieces, and even, on rare occasions, frescoes. They did not hesitate to copy compositions by other artists, but what they borrowed they always transformed into something more capricious, less stable, more fragmentary in the refraction of light. Francesco did not emerge as an independent personality until 1760, when his brother died. Then, 48 years old, he married, established his own studio, and devoted himself chiefly to painting views of Venice. For the most part he worked in obscurity, ignored by his contemporaries. He was not even admitted to the Venetian Academy until he was 72 years old. Guardi and Canaletto have always been compared to one another because the buildings they chose to paint were often the same. But the way each artist painted them is very different. Canaletto's world is constructed out of line. It provides solid, carefully drawn, three-dimensional objects that exist within logically constructed three-dimensional space. Guardi's world is constructed out of color and light. The objects in it become weightless in the light's shimmer and dissolve in a welter of brushstrokes; the space, like the forms in space, is suggested rather than described. Canaletto belonged essentially to the Renaissance tradition that began with Giotto and, as it grew progressively tighter and more controlled, pointed the way to neoclassicism. Guardi belonged to the new baroque tradition that grew out of the late style of Titian and, as it became progressively looser and freer, pointed the way toward impressionism. Such differences appear even in Guardi's early view paintings, where he was obviously trying to copy Canaletto, such as the Basin of San Marco. The famous buildings are there, but they are far in the background, insubstantial, seeming to float. In front is a fleet of fishing boats, their curving spars seeming to dance across the surface of the canvas. What is important for Guardi is not perspective but the changing clouds and the way the light falls on the lagoon. Guardi became increasingly fascinated by the water that surrounds Venice. In late works, such as the famous Lagoon with Gondola, buildings and people have been stripped away until there is nothing but the suggestion of a thin line of distant wharfs, a few strokes to indicate one man on a gondola, a long unbroken stretch of still water, and a cloudless sky. Guardi also painted the festivals that so delighted visitors to the city, such as the Marriage of Venice to the Sea. This was a symbolic ceremony in which the doge, in the great gilded galley of the head of state, surrounded by a thousand gondolas, appeared before all Venice, in Goethe's image, "raised up like the Host in a monstrance." Of all Guardi's paintings the most evocative are his caprices, the landscapes born out of his imagination though suggested by the ruined buildings on the lonely islands of the Venetian lagoon. A gentle melancholy clings to such scenes.

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