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Oil Paintings
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Pietro Longhi 1702-1785
Italian
Pietro Longhi Galleries
Pietro Longhi was born in Venice in the parish of Saint Maria, first child of the silversmith Alessandro Falca and his wife, Antonia. He adopted the Longhi last name when he began to paint. He was initially taught by the Veronese painter Antonio Balestra, who then recommended the young painter to apprentice with the Bolognese Giuseppe Maria Crespi, who was highly regarded in his day for both religious and genre painting. He was married in 1732 to Caterina Maria Rizzi.
Among his early paintings are some altarpieces and religious themes. In 1734, he completed frescoes in the walls and ceiling of the hall in Ca' Sagredo, representing the Death of the giants. Henceforward, his work would lead him to be viewed in the future as the Venetian William Hogarth, painting subjects and events of everyday life in Venice. The gallant interior scenes reflect the 18th century's turn towards the private and the bourgeois.
Many of his paintings show Venetians at play, such as the depiction of the crowd of genteel citizens awkwardly gawking at a freakish Indian rhinoceros (see image). This painting chronicles Clara the rhinoceros brought to Europe in 1741 by a Dutch sea captain and impresario from Leyden, Douvemont van der Meer. This rhinoceros was exhibited in Venice in 1751. There are two versions of this painting, nearly identical except for the unmasked portraits of two men in Ca' Rezzonico version. Ultimately, there may be a punning joke to the painting, since the young man on the left holds aloft the sawed off horn (metaphor for cuckoldry) of the animal. Perhaps this explains the difference between the unchaperoned women.
Other paintings chronicle the daily activities such as the gambling parlors (Riddoti) that proliferated in the 18th century. In some, the insecure or naive posture and circumstance, the puppet-like delicacy of the persons, seem to suggest a satirical perspective of the artists toward his subjects. Nearly half of the figures in his genre paintings are faceless, hidden behind Venetian Carnival masks. Like Crespi before him, Longhi was commissioned to paint seven canvases documenting the seven Catholic sacraments.
Longhi is well-known as a draughtsman, whose drawings were often done for their own sake, rather than as studies for paintings. Pietro's son, Alessandro, was also an accomplished painter.
A paraphrase of Bernard Berenson states that "Longhi painted for the Venetians passionate about painting, their daily lives, in all dailiness, domesticity, and quotidian mundane-ness. In the scenes regarding the hairdo and the apparel of the lady, we find the subject of gossip of the inopportune barber, chattering of the maid; in the school of dance, the amiable sound of violins. It is not tragic... but upholds a deep respect of customs, of great refinement, with an omnipresent good humor distinguishes the paintings of the Longhi from those of Hogarth, at times pitiless and loaded with omens of change". |
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Pietro Longhi The Confession 1755
Galleria degli Uffizi, Florence
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Pietro Longhi Exhibition of a Rhinoceros at Venice c1751
National Gallery, London
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Pietro Longhi The Introduction (mk05) Canvas 25 1/2 x 19 1/2''(65 x 50 cm)Assigned to the Louvre in 1950
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Pietro Longhi Al Ridotto (mk21) Olio su tela,60 x 47 cm
Biblioteca del Museo della Fondazione Querini Stampalia,Venezia
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Pietro Longhi Exhibition of a Rhinoceros at Venice (nn03) c 1751
Oil on canvas 60 x 47 cm 23 1/2 x 18 1/2 in National Gallery London
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Pietro Longhi The Spice-vendor s shop c. 1752
Oil on canvas, 60 x 48 cm
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Pietro Longhi The Confession mk67
Oil on canvas
24x191/2in
Uffizi,
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Pietro Longhi The Spice-Vendor's Shop mk68
Oil on canvas
Venice,Accademia Gallery
c.1752
Italy
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Pietro Longhi The Spice-Vendor's Shop mk68
Oil on canvas
Venice,Accademia Gallery
c.1752
Italy
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Pietro Longhi Masks in the Foyer mk68
Oil on canvas
Venice,Querini Stampalia Foundation
c.1757
Italy
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Pietro Longhi The Rhinoceros nn07
1751
Oil on canvas, 62 x50 cm
Ca' Rezzonico, Venice
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Pietro Longhi The Rhinoceros mk86
c.1751
Oil on canvas
62x50cm
Venice,Ca'Rezzonico
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Pietro Longhi The Tooth-Puller mk86
c.1746-1752
Oil on canvas
50x62cm
Milan,Pinacoteca di Brera
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Pietro Longhi The introduction mk156
1740
Oil on canvas
66x55cm
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Pietro Longhi The Rhinoceros mk156
1751
Oil on canvas
62x50cm
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Pietro Longhi The Hairdresser and the Lady mk157
c.1760
Oil on wood
63x51cm
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Pietro Longhi Visit of the Bauta mk157
c.1760-70
Oil on wood
62x50cm
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Pietro Longhi Masked venetians in the Ridotto mk157
c.1757
Biblioteca Querini Stampalis
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Pietro Longhi The Marriage mk157
before 1755
Oil on canvas
62x50cm
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Pietro Longhi A Nobleman Kissing a Lady-s Hand mk170
circa 1746
Oil on canvas
61.3x49.5cm
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Pietro Longhi
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1702-1785
Italian
Pietro Longhi Galleries
Pietro Longhi was born in Venice in the parish of Saint Maria, first child of the silversmith Alessandro Falca and his wife, Antonia. He adopted the Longhi last name when he began to paint. He was initially taught by the Veronese painter Antonio Balestra, who then recommended the young painter to apprentice with the Bolognese Giuseppe Maria Crespi, who was highly regarded in his day for both religious and genre painting. He was married in 1732 to Caterina Maria Rizzi.
Among his early paintings are some altarpieces and religious themes. In 1734, he completed frescoes in the walls and ceiling of the hall in Ca' Sagredo, representing the Death of the giants. Henceforward, his work would lead him to be viewed in the future as the Venetian William Hogarth, painting subjects and events of everyday life in Venice. The gallant interior scenes reflect the 18th century's turn towards the private and the bourgeois.
Many of his paintings show Venetians at play, such as the depiction of the crowd of genteel citizens awkwardly gawking at a freakish Indian rhinoceros (see image). This painting chronicles Clara the rhinoceros brought to Europe in 1741 by a Dutch sea captain and impresario from Leyden, Douvemont van der Meer. This rhinoceros was exhibited in Venice in 1751. There are two versions of this painting, nearly identical except for the unmasked portraits of two men in Ca' Rezzonico version. Ultimately, there may be a punning joke to the painting, since the young man on the left holds aloft the sawed off horn (metaphor for cuckoldry) of the animal. Perhaps this explains the difference between the unchaperoned women.
Other paintings chronicle the daily activities such as the gambling parlors (Riddoti) that proliferated in the 18th century. In some, the insecure or naive posture and circumstance, the puppet-like delicacy of the persons, seem to suggest a satirical perspective of the artists toward his subjects. Nearly half of the figures in his genre paintings are faceless, hidden behind Venetian Carnival masks. Like Crespi before him, Longhi was commissioned to paint seven canvases documenting the seven Catholic sacraments.
Longhi is well-known as a draughtsman, whose drawings were often done for their own sake, rather than as studies for paintings. Pietro's son, Alessandro, was also an accomplished painter.
A paraphrase of Bernard Berenson states that "Longhi painted for the Venetians passionate about painting, their daily lives, in all dailiness, domesticity, and quotidian mundane-ness. In the scenes regarding the hairdo and the apparel of the lady, we find the subject of gossip of the inopportune barber, chattering of the maid; in the school of dance, the amiable sound of violins. It is not tragic... but upholds a deep respect of customs, of great refinement, with an omnipresent good humor distinguishes the paintings of the Longhi from those of Hogarth, at times pitiless and loaded with omens of change".
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