View of Campo San Zanipolo with the Temporary Platform Erected for the Visit of Pope Pius VI

Prints and Drawings

1782

Francesco Guardi
Italian, 1712–1793

A study for one of a set of four paintings commissioned by the Venetian Republic to commemorate Pope Pius V’s state visit to Venice in 1782, this drawing is associated with the blessing the Pope conferred upon its citizens. Francesco Guardi’ssketch is an accurate rendering of the monuments and architecture in the Campo San Giovanni e Paolo square, including the temporary benediction platform and its access ramps in front of the Scuola
di San Marco, seen in the left background.

Guardi achieved his atmospheric effects by carefully modulating the wash against untreated areas of paper, resulting in a sense of flickering shadows and reflected sunlight.

Status: Currently Off View
Department: Prints and Drawings

Artist: Francesco Guardi
Title: View of Campo San Zanipolo with the Temporary Platform Erected for the Visit of Pope Pius VI
Place: Italy (Artist's nationality)
Date: Made 1782
Medium: Pen and brown ink and brush and brown wash, with traces of black chalk, on ivory laid paper
Dimensions: 32.3 × 34.1 cm (12 3/4 × 13 7/16 in.)
Credit Line: Gift of Richard and Mary L. Gray
Reference Number: 2019.850
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/202291/manifest.json

James Byam Shaw, “Four Drawings by Francesco Guardi in English Public Collections,” Old Master Drawings, 12 (1937), p. 19.
K.T. Parker and James Byam Shaw, Canaletto e Guardi: Catalogo della mostra dei disegni, exh. cat. (Fondazione Cini, 1962), p. 68, under cat. 94.
Ross Watson, “Guardi and the Visit of Pius VI to Venice in 1782,” National Gallery of Art Report and Studies in the History of Art (National Gallery of Art, 1968), p. 124, fig. 9, p. 130.
Fern Rusk Shapely, Paintings from the Samuel H. Kress Collection: Italian Schools, vol. 3 (Phaidon, 1973), pp. 172–74, under no. K262.
Luigina Rossi Bortolatto, L’opera completa di Francesco Guardi (Rizzoli, 1974), p. 131, under no. 697.
Antonio Morassi, Guardi: Tutti i disegni di Antonio, Francesco e Giacomo Guardi (Alfieri, 1975), no. 276, fig. 278.
James Byam Shaw, “Some Guardi Drawings Rediscovered”, Master Drawings 15 (1977), p. 10.
Fern Rusk Shapley, Catalogue of the Italian Paintings, vol. 1 (National Gallery of Art, 1979), under no. 240.
Antonio Morassi, Guardi: I disegni (Alfieri,1984), no. 276, fig. 278.
Bram De Klerck, “Francesco Guardi”, in Painters of Venice: The Story of the Venetian ‘Veduta’, ed. by Bernard Aikema and Boudewijn Bakker, exh. cat. (Rijksmuseum, 1990), p. 257.
Diane De Grazia et al., Italian Paintings of the Seventeenth and Eighteenth Centuries (National Gallery of Art, 1996), pp. 128–30, under no. 1939.1.129.

Paris, Galerie Cailleux, Tiepolo et Guardi: Exposition de peintures et dessins provenant de collections françaises publiques et privés, 1952, cat. 88, pl. 54.
Paris, Galerie des Tuileries, Venise au dix-huitième siècle, 1971, cat. 105.
Art Institute of Chicago, Gray Collection: Seven Centuries of Art, Sept. 25, 2010–Jan. 2, 2011, cat. 41 (ill.).
The Art Institute of Chicago, “Pure Drawing: Seven Centuries of Art from the Gray Collection”, January 25 - May 10, 2020, p. 19, fig. 6, p. 139, GC 78.

A. von Franck; sold, Galerie Prestel, Frankfurt, Dec. 4–5, 1889, lot 604. Freiherr A. von Lanna (Lugt 2773); sold, H.G. Gutekunst, Stuttgart, May 10–11, 1910, lot 284. Ströhlin to Pierre Decourcelle, July 1911 [according to Paris 1971]; by descent; sold, Christie’s, Paris, Mar. 21, 2002, lot 311, to Richard and Mary L. Gray, Chicago; given to the Art Institute of Chicago, 2019.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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