Two Odalisques Playing Music in the Harem (1742/43) by Giovanni Antonio Guardi; Francesco GuardiKunstpalast
'The Guardi brothers and their studio took their cue from the engravings of the Recueil Ferriol, which arose in 1714 after Paintings by Jean- Baptiste van Mour.'
An Imaginary View of a Venetian Lagoon, with a Fortress by the Shore (about 1750–1755) by Francesco GuardiThe J. Paul Getty Museum
'Francesco Guardi based this drawing on a picture much like one by Luca Carlevarijs, now in the Royal Collection at Windsor Castle, London. It is a capriccio, an imaginary view that was popular in Italy in the 1700s, and Guardi created many similar imaginary scenes of Venetian life.'
View of the Giudecca Canal and the Zattere (Around 1757 - 1758) by Francesco GuardiMuseo Nacional Thyssen-Bornemisza
'Francesco Guardi, who was strongly influenced by Canaletto's idealised views of the city, generally made preparatory drawings for his paintings; the Museo Correr in Venice holds a large collection of his sketches and notes. Here, Guardi provides a view of the Giudecca Canal, the waterfront promenade of Zattere, the churches of San Biagio and Santa Marta, and the Euganean Hills rising up in the distant background, behind the island of San Giorgio in Alga.'
View of the Grand Canal at San Geremia (1758/1759) by Francesco GuardiMuseo Correr
'This is one of the most Canaletto-esque "vedute" (view paintings) by the painter Francesco Guardi, characterized by an enlarged composition that is rich in detail. It dates back to the first years of Guardi's work as a landscape painter when, perhaps taking advantage of Canaletto's absence while he was in England, the artist tried his hand at a genre that was in high demand at home and abroad.'
View on the Grand Canal at San Geremia, Venice (c. 1760-1765) by Francesco GuardiThe Frick Pittsburgh
'The area around the Cannaregio--the canal that opens up in the painting's center--is not one of the more popular tourist views of the city, but Guardi's choice of site may have been inspired by Canaletto's earlier painting of the same scene. Guardi's view includes the reconstruction in progress on the Church of San Geremia (left), not apparent in Canaletto's painting of thirty years before.'
The Grand Canal, Venice, with the Palazzo Bembo (about 1768)The J. Paul Getty Museum
'On the right side, behind the tiny figures on shore, he depicted the Church of San Geremia in the midst of its renovation.'
Campo San Zanipolo in Venice (1760s) by Francesco GuardiMuseum of Fine Arts, Budapest
'By placing much of the façade in shade, he brings the enormous building into balance with the Franciscan Order's early Renaissance building, now a hospital, the Scuola di San Marco, whose ornate façade is highlighted by strong light.'
A Theatrical Performance (1782) by Francesco GuardiThe J. Paul Getty Museum
'Guardi drew several paintings and drawings to record their visit.'
Architectural fantasy with a courtyard (First half of 1780-s) by Francesco GuardiThe Pushkin State Museum of Fine Arts
'The motif of the arch - semi-circular or Gothic - with or without a lantern is often found in the landscape compositions of Francesco Guardi and his numerous drawings.'
View of Campo S. Polo (about 1790) by Francesco GuardiThe J. Paul Getty Museum
'The Campo San Polo was a residential square, unlike the famous tourist spot, Saint Mark's, that he usually sketched. Guardi filled the scene with minute details for an intimate glimpse of urban life in Venice.'
The Bucintoro Festival of Venice (1727-1793) by Francesco GuardiSMK - Statens Museum for Kunst
'Francesco Guardi lived and worked in Venice his entire life and made its many festivities and everyday life and manners his favourite theme.'