Provenance
Sir George Kane, London.[1] (Count Alessandro Contini Bonacossi, Rome); purchased 1933 by the Samuel H. Kress Foundation, New York; gift 1939 to NGA.
Exhibition History
- 1932
- An Exhibition of Italian Paintings Lent by Mr. Samuel H. Kress of New York to Museums, Colleges, and Art Associations, travelling exhibition, 24 venues, 1932-1935, mostly unnumbered catalogues, p. 55 or p. 35, repro. (not shown at all venues).
- 1938
- Exhibition of Venetian Painting from the Fifteenth Century through the Eighteenth Century, California Palace of the Legion of Honor, San Francisco, 1938, no. 31, repro., as Campo di Santi Giovanni E. Paolo, Venice.
- 1938
- Tiepolo and His Contemporaries, The Metropolitan Museum of Art, New York, 1938, no. 26, repro., as Campo di Santi Giovanni e Paolo.
- 1939
- Masterpieces of Art. European Paintings and Sculpture from 1300-1800, New York World's Fair, 1939, no. 167, repro.
- 1940
- Exhibition of Eighteenth-Century Italian Landscape Painting and Its Influence in England, Gallery of Fine Arts, Yale University, New Haven, 1940, no. 14 (cat. in Bulletin of the Associates in Fine Arts at Yale University 9 [1940], frontispiece).
- 2010
- From La Serenissima to the Eternal City: The Grand Tour in 18th Century Venice and Rome, The Mitchell Gallery, St. John's College, Annapolis, 2010, no catalogue.
Technical Summary
The support is a moderately fine, tightly woven, plain-weave fabric. In x-radiographs a fragment of an earlier floral composition is visible at the lower right. The orientation of the flowers and the cusping along the left edge suggest that the piece was cut from the upper right of a larger fabric. A reddish brown isolating layer serves as the ground for the surface composition. The paint was quite thinly applied, with only the whites being somewhat thicker. The cool tonality was produced in part by scumbling light colors over dark, in some cases directly over the ground. Dark brown glazes were used throughout as well as fine lines of black paint for the architectural detailing.
The tacking margins have been removed; the original fabric stops approximately 0.7 cm short of the stretcher. There is general, moderate abrasion, especially in the lower area of the sky, which allows the ground to show, making the sky appear darker than intended. The varnish is clear. The painting was relined, discolored varnish was removed, and the painting restored by Stephen Pichetto in 1934. Most recently, discolored varnish was removed and the painting was restored by Teresa Longyear in 1985-1987.
Bibliography
- 1941
- Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 93, no. 240, as Campo San Zanipolo.
- 1942
- Book of Illustrations. National Gallery of Art, Washington, 1942: 244, repro. 125, as Campo San Zanipolo.
- 1944
- Goering, Max. Francesco Guardi. Vienna, 1944: 62.
- 1945
- Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 150, repro., as Campo San Zanipolo.
- 1946
- Favorite Paintings from the National Gallery of Art Washington, D.C.. New York, 1946: 37-39, color repro., as Campo San Zanipolo.
- 1951
- Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 112-113, repro.
- 1953
- Schwarz, Heinrich. "A Painting by Francesco Guardi." Rhode Island School of Design, Museum Notes 10 (1953): unpaginated.
- 1957
- Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 159, as Campo San Zanipolo.
- 1959
- Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 260, repro., as Campo San Zanipolo.
- 1960
- Newton, Eric. The Arts of Man. Greenwich, Connecticut, 1960: 199-201, repro.
- 1960
- Shapley, Fern Rusk. Later Italian Painting in the National Gallery of Art. Washington, D.C., 1960 (Booklet Number Six in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 40, color repro., as Campo San Zanipolo.
- 1961
- Walker, John, Guy Emerson, and Charles Seymour. Art Treasures for America: An Anthology of Paintings and Sculpture in the Samuel H. Kress Collection. London, 1961: 172, fig. 163-164.
- 1963
- Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 318, repro., as Campo San Zanipolo.
- 1965
- Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 64, as Campo San Zanipolo.
- 1968
- Gandolfo, Giampaolo et al. National Gallery of Art, Washington. Great Museums of the World. New York, 1968: 56-59, color repro.
- 1968
- National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 56, repro., as Campo San Zanipolo.
- 1968
- Watson, Ross. "Guardi and the Visit of Pius VI to Venice in 1782." Report and Studies in the History of Art 2 (1968-69): 114-131, repro.
- 1972
- Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 97.
- 1973
- Morassi, Antonio. Guardi: Antonio e Francesco Guardi. 2 vols. Venice, 1973-1975: 1:360, no. 270; 2:fig. 302.
- 1973
- Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XVI-XVIII Century. London, 1973: 172-174, fig. 330 and frontispiece.
- 1974
- Rossi Bortolatto, Luigina. L'opera completa di Francesco Guardi. Milan, 1974: 131, no. 699, repro.
- 1975
- European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 166, repro., as Campo San Zanipolo.
- 1975
- Morassi, Antonio. Tutti i disegni di Antonio, Francesco e Giacomo Guardi. Venice, 1975: 126.
- 1977
- Byam Shaw, James. "Some Guardi Drawings Rediscovered." MD 15 (1977): 10.
- 1979
- Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:237-240; 2:pl. 160, as Campo San Zanipolo.
- 1979
- Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 83, pl. 72.
- 1984
- Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 348, no. 486, color repro., as Campo San Zanipolo.
- 1985
- European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 192, repro., as Campo San Zanipolo.
- 1993
- Succi, Dario. Francesco Guardi. Milan, 1993: 112, fig. 114.
- 1996
- De Grazia, Diane, and Eric Garberson, with Edgar Peters Bowron, Peter M. Lukehart, and Mitchell Merling. Italian Paintings of the Seventeenth and Eighteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 125-130, color repro. 127.
- 2004
- Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 240-241, no. 191, color repro.
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