View of Venice with the Church of S. Geremia and the Ponte delle Guglie, Francesco Tironi (Venice, circa 1745 – 1797)

Francesco Tironi (Venice, circa 1745 – 1797)

View of Venice with the Church of San Geremia and the Ponte delle Guglie

oil painting on canvas
59 cm x 75 cm.
with frame 72 x 88 cm.

Works accompanied by a descriptive note by Prof. E. Negro

The canvas, dating back approximately to the ninth decade of the eighteenth century, is attributed to the Venetian view painter Francesco Tironi (Venice, 1745-1797), constituting a demonstration of the artist's expressive skills in the mature phase of his activity.

This is a view of Venice, immortalizing a glimpse of it with some palaces, a church, and a bell tower, captured at the mouth of the Cannaregio Canal. As evidenced by the green trees sprouting from behind the walls of the small garden, the canvas reproduces a springtime view of the Serenissima captured from the placid body of water overlooking the fork between the "Canal Grando, or Canalaso" (on the left) and the "Canal de Canarégio" (on the right).

The canvas thus depicts a picturesque corner of the lagoon populated by boats and a gondola, while the figures painted on the vessels and on the dock are recognizable as merchants, sailors, and commoners. Both the architectural structures of the buildings and the gently rippling motion of the lagoon's waves have been reproduced with a sober, almost analogous approach to reality.

In the eighteenth century, Venice experienced a second "golden age" in the artistic and cultural fields. The Venetian view became a highly successful pictorial genre, satisfying the needs of patrician families and nobles, especially English and German, but also French, who visited the city during their "Voyage d'Italie" (Venice, Florence, Rome, Naples), and those who, despite having never been to Venice, wanted to decorate their residences with views of the Serenissima.

Alongside Antonio Canal, 'Canaletto' (1697-1768), the spearhead of landscape painting, a large number of artists active in Venice contributed to the extraordinary nature of this pictorial season. Among these are Luca Carvelarijs, the Guardis, Francesco and his son Giacomo, Michele Marieschi, and Francesco Tironi, to whom the painting in question is attributed.

Our reference is supported by comparison with the painter's certain works, for the similar way of setting the scenes, in the common tendency in the rendering of perspective, for the attention to detail of the carefully drawn architecture, for the marked play of light and shadow and for the typology of the numerous Canaletto-like figures, which animate the scene in the square.

Tironi is characterised by a rather eclectic taste, which blends in an original way elements taken from Canaletto or Marieschi (for the typology of the 'macchiette' and the compositional structure of the views), with clear influences from Guardi (for the synthetic rendering of the architectural elements, defined in a fluent manner).

Regarding our View of Venice with the church of S. Geremia, Palazzo Labia and the Ponte delle Guglie, there are numerous analogies with other compositional works by Tironi, so to confirm the proposal put forward it will be sufficient to compare it with some drawings by the Venetian master (for example the View of the island of Mazzorbo and that of the islands of Murano, S. Michele and S. Cristofor, (both in New York, at the Robert Lehman collection), as well as with the paintings depicting the View of the Grand Canal with the Rialto Bridge (Ajaccio, Musée Fesch), the View of the Brenta River (Genoa, Cambi Casa d'Aste, 16 December 2021, no. 211) and the pendant depicting the views of Piazza S. Marco and the island of S. Giorgio (Genoa, Wannenes, 5 March 2020, no. 773).

These works, in fact, display clear stylistic analogies and similar perspective inventions also found in our scene, that is, a peculiar recovery of the early eighteenth-century landscape painting aimed at overcoming and simplifying the last Baroque dross and a manifest orientation towards more subdued figurative solutions, inspired by genuinely Venetian modules in the design of architecture: recurring characteristics in the gratifying works of Francesco Tironi.

The view, in excellent condition, is enriched by a beautiful antique gilded and lacquered frame.

ADDITIONAL INFORMATION:

The work is sold accompanied by a certificate of authenticity and descriptive iconographic card.

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