View of the Grand Canal with the Dogana
View of the Grand Canal with the Dogana
- Artist
- Francesco Guardi
- Artist Dates
- 1712-1793
- Artist Nationality
- Italian
- Title
- View of the Grand Canal with the Dogana
- Date
- c. 1780
- Medium
- oil on canvas
- Dimensions
- 41.9 x 66.7 cm (16-1/2 x 26-1/4 in)
- K Number
- K1947
- Repository
- Columbia Museum of Art
- Accession Number
- CMA 1954.46
- Notes
Provenance
(Reinhardt Galleries, New York, by 1915); John North Willys [1873-1935] and his wife, Isabel van Wie; New York; (her sale, Parke-Bernet, New York, 25 October 1945, no. 23). (David Koetser, New York); sold to the Samuel H. Kress Foundation on 20 February 1953; gift to the Columbia Musem of Art in 1961, no. CMA 1954.46.
Catalogue Entry
Francesco Guardi
View of the Grand Canal with the Dogana
K1947
Columbia Museum of Art, Columbia, S.C. (54-402/27), since 1954.(1) Canvas. 16 1/2 x 26 1/4 in. (41.9 x 66.7 cm.). Very good condition. This view was painted several times by Francesco, and each painting is a fresh interpretation of the subject: the complex of buildings is seen from slightly different viewpoints, the arrangement of the sailboats and gondolas differs from one version to another, and the light effects vary. Thus, in comparison with K1947, the version in the Alte Pinakothek, Munich,(2) involves a different viewpoint and arrangement of minor details and shows the view under a darker sky, in evening light, with storm clouds gathering at the right. Besides a technique which suggests that of the Impressionists, Francesco had something of Monet's interest in studying a scene under varying light.(3) K1947 and the Munich version both belong to Francesco's mature style, probably dating in the late 1770s.(4) The two chief buildings in the composition, the Dogana (customhouse) and Longhena's famous Church of Santa Maria della Salute, were both a century old when Guardi painted them and must have had for him such romantic charm as they have for us today. Provenance: Reinhardt Galleries, New York (sold 1915 to the following). John N. Willys, New York.(5) Isabel van Wie Willys (formerly Mrs. John N. Willys), New York (sold, Parke-Bernet's, New York, Oct. 25, 1945, no. 23 of catalogue). David M. Koetser's, New York. Kress acquistition, 1953 –exhibited (always as Francesco Guardi), after entering the Columbia Museum of Art: 'Francesco Guardi,' Santa Barbara Museum of Art, Santa Barbara, Calif., March 1958, no. 12 of catalogue; 'Art Treasures for America,' National Gallery of Art, Washington, D.C., Dec. 10, 1961-Feb. 4, 1962, no. 42; 'Landscape into Art,' Atlanta Art Association, Atlanta, Ga., Feb. 2-Mar. 4, 1962; 'Mostra dei Guardi,' Palazzo Grassi, Venice, June 5-Oct. 10, 1965, no. 150 of catalogue by P. Zampetti; 'From El Greco to Pollock,' Baltimore Museum of Art, Baltimore, Md., Oct. 22-Dec. 8, 1968, no. 32 of catalogue by G. Rosenthal.
References
(1) Catalogue by W. E. Suida, 1954, p. 63, and by A. Contini Bonacossi, 1962, pp. 134 f., as Francesco Guardi. (2) The Munich version is reproduced in color and discussed by R. Kultzen, in Pantheon, vol. XXV, 1967, pp. 270 ff. (3) As suggested by G. Rosenthal, loc. cit. in Provenance. (4) The high quality of K1947 has been repeatedly emphasized, by, e.g., P. Zampetti (loc. cit. in Provenance), R. Pallucchini (in Arte Vetleta, vol. XIX, 1965, p. 235), E. Arslan (in Problemi Guardeschi, 1965, pp. 14 f.), and Rosenthal (loc. cit. in Provenance). (5) See R. Flint, in International Studio, vol. LXXX, 1925, p. 368.