Venice: San Giorgio Maggiore with the Giudecca and the Zitelle

This picture is one of a set of four paintings purchased by the 4th Marquess of Hertford in 1865 (see P503, P508 and P494). The paintings were highly regarded in the 19th century and, until recently, were still considered to be the only set of four topographical views by Guardi still together. However, a difference in style, technique and composition revealed by conservation work suggests that whilst the present picture is undoubtedly a pendant to other Guardi paintings probably form a separate pairing.

Both Venice: Santa Maria della Salute and the Dogana and the present picture can be dated to the 1780s, when Guardi’s less meticulous approach was particularly prevalent. The overall impression is atmospheric and generalised – qualities which distinguish Guardi’s works from the detailed and precise observations of his major predecessor, Canaletto.

This painting shows a view across the Bacino di San Marco, looking towards the islands of San Giorgio Maggiore (on the left) and Giudecca (on the right). This view – with the church of San Giorgio Maggiore, designed by Andrea Palladio (1508-1580), as its focal point – is taken from the quayside of the main land (the Riva degli Schiavoni) and represents one of the most popular scenes within 18th-century Venetian view painting. However, the painting is not topographically accurate and the view has been manipulated for artistic effect – thus the real subject of the painting is arguably the unique atmosphere of Venice. The composition exists in numerous versions (Venice: San Giorgio Maggiore with the Giudecca, for example).