The show ends with Guardi's last works, in which his exuberant style is fully evolved.
In the next sections, we see Guardi's fascinating development as a master of vedute and capriccios.
This was the era of Casanova's wanton memoirs and the splendid Venetian regattas and processions painted by Canaletto and Francesco Guardi.
With the capriccios, combining real and imaginary places, ancient and modern architecture in one picture, Guardi is in his element.
His father was a painter, as was his brother Giovanni Antonio. (Their sister Maria-Cecilia married another Venetian artist, Giambattista Tiepolo.) Guardi struggled financially.
Guardi the artist, if not the family man with bills to pay, benefited from having few clients and therefore only himself to please.
Funds could not be raised for paintings by French artist Antoine Watteau, Venetian painter Francesco Guardi and an early 19th Century Italian classical tripod.
As his own painterly style evolved, what was important to Guardi in his views wasn't perspective, but the changing sky and the shimmering lagoon.
After a decade of experimentation, Guardi's freer and looser personal style, evoking mood and atmosphere in his views, emerged in paintings such as the one of St.
In his later years, Guardi was commissioned to document some of the ceremonies and celebrations of the Most Serene Republic of Venice, including a series involving the doge.
Guardi saw these paintings and was clearly influenced by them.
Although Guardi is best known today as a vedutista, or view painter, the British aristocrats on their "Grand Tour" preferred the near-photographic precision of Canaletto's views to take home as souvenirs.
In the 1750s, when he was already about 40 years old, Guardi moved into the landscape genre, perhaps taking advantage of a niche in the profitable market of foreign visitors since Canaletto had moved to England.
One of the merits of this exhibition is that it displays a number of works that have never been seen together before, allowing for comparison and a clear sense of the development of Guardi's increasingly personal style.
In contrast to the 18th-century vedutisti painters (Canaletto, Guardi and others) who capture images of Venice down to the last detail, Sargent imparts an evanescent place, where shimmering light constantly changes not just the water but even the supposedly immobile structures.
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