[이탈리아 - 베니스] Francesco Guardi

.

 

Francesco Guardi
Francesco Guardi portrayed by Roberto Longhi (1764)
	(1712-10-05)October 5, 1712 / Venice
	january 1, 1793

 

Francesco Lazzaro Guardi (October 5, 1712 – January 1, 1793)

 

목차

펼치기

동생 니콜로(1715~86)와 함께 형인 조반니 안토니오 구아르디 에게서 그림을 배웠다. 누이인 체칠리아는 조반니 바티스타 티에폴로와 결혼했다. 1731년까지 형제들은 작업실 겸 상점인 '보테가'에서 함께 일한 것으로 기록되어 있다. 그의 이름은 베두타 (Veduta：실경묘사) 때문에 널리 알려졌지만 1750년대 중엽이나 말엽까지는 이 기법을 채택하지 않았던 것 같다. 아마 그가 베두타 풍경화를 그리게 된 것은 그의 형 조반니의 죽음이 가까워지고 있었고, 늙어서 작품활동이 부진한 카날레토를 빼고는 이 수지맞는 분야에 경쟁상대가 없었기 때문이었던 것 같다.

그는 자신의 새로운 예술분야에 주목을 끌려고 하기나 한 듯이 초기에 그린 풍경화에 거의 모두 서명이나 머리글자를 써넣었다. 그의 초기작품들은 30년 전의 카날레토 작품에서 영향을 받은 듯하다. 1782년 그는 대공작 폴의 베네치아 방문 축하행사를 그림으로 그렸는데 그중 한 작품은 당시 흔히 볼 수 있는 판화를 작품의 토대로 하였다. 그해말에는 공화국 정부로부터 그런 모방을 하지 않는다는 조건으로 피우스 6세의 방문을 그림으로 기록해달라는 요청을 받았다. 그는 영국인과 외국인들에게 상당히 호평을 받았고 1784년에는 베네치아 아카데미 회원으로 선출되었다. 베네치아의 건축물을 사진처럼 깔끔하게 그려낸 카날레토와 대조적으로 그는 많은 작품에서 쇠락해가는 도시의 인상을 재기 넘치고 낭만적인 필치로 그렸다.

 

Francesco Guardi was born in Venice into a family of lesser nobility from Trentino. His father Domenico (born in 1678) and his brothers Niccolò and Gian Antonio were also painters, later 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 are from 1738, for a parish at Vigo d'Anuania, in Trentino. In this period he worked alongside his older brother, Gian Antonio. The first work signed by Francesco is a Saint Adoring the Eucarist (circa 1739).

 

House of Guardi in Cannaregio

Francesco Guardi - The Bucintoro Festival of Venice

Miracle of a Dominicane Saint (1763), Lugano

 

His works in this period included both landscapes and figure compositions. 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 shown 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.

 

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 Campiello de la Madona in Cannaregio (Venice) in 1793.

Mature style

Departure of Tobias and Angel, Chiesa dell'Angelo San Raffaele (Venice)

 

Among all the paintings attributed to either Francesco and his brother Gian Antonio Guardi, the most praised work is not a landscape, but instead the airy sfumato Story of Tobit painted for the organ loft in the small Chiesa dell'Angelo San Raffaele. To quote from the Web Gallery of Art:

Perspective, organized aerial space, the Palladian solidity of Tiepolo... are exchanged for a personal style of coloured handwriting - now brilliantly calligraphic, and now brilliantly cloudy.^[1]

 

Lagoon Looking Towards Murano from the Fondamenta Nuova (1765-70)^[2]

 

Guardi's painterly style is known as pittura di tocco (of touch) for its small dotting and spirited brush-strokes. This looser style of painting had been used by Giovanni Piazzetta and Sebastiano Ricci, and recalls, in some religious themes, the sweetened sfumato of Barocci's Bolognese style. In this he differs from the more linear and architecturally accurate style of Canaletto's painting.This style, a century later, would make Guardi's works highly prized by the French Impressionists.

 

Canaletto, as a vedutista, concentrated on glamorous urban architecture erected by the imperial republic; on the other hand, in Guardi, the buildings often appearto be melting and sinking into a murky lagoon.^[3][4] Canaletto's canvases often have intricate linear and brilliant details, and depict Venice in sunny daylight. Guardi paints clouded skies above a city at dusk. These contrasts, however, simplify the facts, since Canaletto often painted the drab communal life and neighborhoods (creating in them some epic artistic qualities), while Guardi did not avoid sometimes painting the ceremonies of Ducal Venice.^[5] Ultimately, Guardi's paintings evoke the onset of the dissipation. The citizenry has shrunken to an impotent lilliputian crowd of "rubber-neckers", unable to rescue the crumbling Republic, as for example in the Fire in the Oil Depot in San Marcuola.^[6] It was fitting depiction of the rapidly declining empire, which had declined, in Napoleon's assessment, into a "drawing room of Europe" peopled with casinos, carnivals, and courtesans for hire.

 

Fire in the Oil Depot in San Marcuola (1789)