File:A view of the Rialto Bridge.jpg

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Francesco Guardi: A view of the Rialto Bridge with the Palazzo die Camerlenghi   (Wikidata search (Cirrus search) Wikidata query (SPARQL)  Create new Wikidata item based on this file)
Artist
Attributed to Francesco Guardi  (1712–1793)  wikidata:Q318769
 
Attributed to Francesco Guardi
Description Italian painter and graphic artist
Date of birth/death 5 October 1712 Edit this at Wikidata 1 January 1793 Edit this at Wikidata
Location of birth/death Venice Venice
Work location
Venice Edit this at Wikidata
Authority file
artist QS:P170,Q318769,P5102,Q230768
Title
A view of the Rialto Bridge with the Palazzo die Camerlenghi
Object type painting
object_type QS:P31,Q3305213
Description
English: The sun is just beginning to set, casting more intense shadows, and the crepuscular light lends a pinkish hue to the clouds at right. The composition is expertly foreshortened at left and shows the architrave of the Palazzo Civran in close detail and stark light. The artist depicts the most lively stretch of the Grand Canal at Venice’s commercial heart, looking south toward the Rialto Bridge and Palazzo dei Camerlenghi. The scene encapsulates the quotidian bustle of Venetian life: the water is crowded with gondolas ferrying passengers and cargo to and fro, and the river banks are alive with people. Citizens cross the bridge from the Eastern bank, with its opulent palazzi owned by prosperous Venetians, to the Palazzo dei Camerlenghi, the seat of the financial magistrates and city's treasury. To the west, meanwhile, are the erberie and pescarie (grocery and fishmarkets) frequented by ordinary citizens, housed within the Fabbriche Vecchie and Fabbriche Nuove, just out of view at right.
Medium oil on canvas
medium QS:P186,Q296955;P186,Q12321255,P518,Q861259
Dimensions height: 52.5 cm (20.6 in); width: 84.9 cm (33.4 in)
dimensions QS:P2048,52.5U174728
dimensions QS:P2049,84.9U174728
Object history

Hans Bernhard Greve, Berlin-1909

His sale, Berlin, Rudolph Lepke, 12 – 13 October 1909, lot 102 (the chalk lot number visible on the stretcher)
Notes
English: Though only known through the 1909 reproduction, James Byam-Shaw in his article 1955 (see Literature) suggested it might be the pendant to a View of the Rialto from the Fondamento del Carbon in the Fundação Calouste Gulbenkian, Lisbon (see fig. 1). The Gulbenkian canvas, signed in the same manner as the Metropolitan canvas, is identical in size to the present work. While the Metropolitan painting has traditionally been paired with a View of Santa Maria della Salute, the pendant to the Iveagh picture is likewise a North-facing View of the Rialto from the Fondamento del Carbon, which sold at Sotheby’s London in 2011 for £26,697,250.5 This parallel pairing would seem to support Byam-Shaw's hypothesis.
A preparatory drawing for the composition depicting the Rialto Bridge and Palazzo dei Camerlenghi was at some point divided into two halves, presumably when it was removed from an album; one half is now preserved in the Musée Bonnat, Bayonne, and the other in the Kupferstichkabinett, Berlin. The sketch for the pendant view from the Fondazione del Carbon, meanwhile, remains intact in the Musée du Louvre, Paris. There is a marked crease in the middle of the Louvre sheet, suggesting it too was removed from the spine of an album. The length of the Bayonne and Berlin drawings united is identical to that of the Louvre drawing and it seems likely therefore that the two originated from the same album. Should this be the case, it would lend far greater credence to the argument that the two views were originally intended as pendants and conceived as such by the artist himself.
Source/Photographer http://www.sothebys.com/en/auctions/ecatalogue/2014/old-master-paintings-n09161/lot.78.html
Permission
(Reusing this file)
This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason:
Public domain

This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.

This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1929.

This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights.
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".
This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details.
Other versions

2
1.:
One, now in the Metropolitan Museum of Art, New York, is of almost identical dimensions. While that canvas has much the same staffage, the arrangement of clouds differs and it appears to depict an earlier moment in the day. It is signed on the wall below the chimney, lower left, Fran.co Dè Guardi, and is considered to date to circa 1760.
2.:
A second and perhaps more celebrated version, executed on a monumental scale, was formerly in the collection of the late Lord Iveagh and now in an English private collection. While painted from precisely the same viewpoint, the Iveagh composition is extended at right to include the entire façade of the Fabbriche Vecchie and the beginning of the Fabbriche Nuove. In a diary entry dated 25 April 1764, Pietro Gradenigo wrote of an exhibition in the arcade of the Procuratie Nuove, Piazza San Marco, Venice, for which Francesco Guardi submitted two canvases commissioned from him by an Englishman. One of the paintings described matches this very composition, though scholars remain divided as to whether the Iveagh or the Metropolitan Museum picture was that exhibited.
artscouncil.org

https://www.theguardian.com/artanddesign/2018/jan/05/arts-minister-places-uk-export-bar-on-francesco-guardi-painting-venice

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