In the John Samuel collection by 1868 when lent by him to the National Art Exhibition Leeds (no. 224). Exhibited at the Royal Academy, 1871 (no. 6), lent by John Samuel. Bequeathed by him to his nieces, the Misses Cohen; exhibited at the New Gallery 1894–5 (no. 196). Misses Cohen bequest, 1906.
Francesco Guardi (1712-1793) was a leading Venetian artist from the 18th century, and was renowned for his vedute (a large-scale painting of a cityscape) and capricci (intellectual play or a way for the artist to show their creativity and imagination). He belonged to a family of painters and carried out his initial training by creating religious and figurative paintings in the workshop of Gian Antonio, Francesco’s elder brother. Around the year of 1760, Guardi was inspired by Canaletto and started specialising in the cityscapes of Venice, but he later went on to develop his own free and atmospheric style. His paintings highlighted Venetian architecture, water canals, festivals and varying light through loose brushstrokes, rich colour, and shimmers. Major painting commissions that he received during his career were the Mocenigo festivals and the visits of Grand Duke Paul and Pope Pius VI. Later, Francesco’s landscapes and capricci became more poetic and melancholic, whilehis treatement of creating atmospheric light and space reflected the Impressionism from the 19th century. He had left a lasting legacy on the European landscape painting.
“The Doge’s Palace and the Molo from the Basin of San Marco” by Francesco Guardi was painted around 1770. It represents one of Venice’s most recognizable cityscape of the Doge’s Palace, the Molo, and the Basin of San Marco. The original artwork is an oil on canvas medium and is now a part of the collection of the National Gallery, London. Francesco did not want to showcase Venice as a static architectural monument, rather as a lively commercial city. Movements of the barges, fishing boats, gondolas, merchants, workers and visitors fill the foreground, while the Doge’s Palace and the campanile of San Marco rise in the background. He had deliberately painted the figures small and loose to allow the viewers to move their attention throughout the bustling scene. The free, energetic brushwork distinguishes Guardi’s painting from the more precise vedute of Canaletto. He has painted the architectural details as a suggestion rather than meticulously refining them, whereas the sky, water and buildings disappear into one another. The painting was originally part of a pair with “Venice: The Punta della Dogana with S. Maria della Salute.” Together, they offered poetic views of Venice for local and foreign collectors.
The Doge's Palace and the Molo from the Basin of San Marco presents Venice as a lively and constantly moving city rather than simply an architectural landmark. The boats, gondolas, merchants and visitors create a sense of everyday activity, while the loose brushwork gives the scene energy and spontaneity. The soft treatment of the sky and water makes the architecture feel naturally integrated into the atmosphere.
I understand this painting as a celebration of Venice's movement, beauty and changing character. Guardi's less precise approach makes the city feel almost dreamlike, allowing light and atmosphere to become as important as the buildings themselves. I find the painting appealing because it does not feel rigid or overly controlled. Instead, it captures the fleeting experience of seeing Venice through movement, light and everyday life.
