"Tobias and the Angel", Francesco Guardi NFT on XRPL
"Tobias and the Angel", Francesco Guardi
Collection: Cleveland Originals
This series of paintings predominantly tells the Old Testament story of Abraham and Isaac, and each of the canvases treats the interaction of humans and angels. In three works, angels appear to Abraham. However, the narrative of Tobias and the Angel comes from an entirely different book of the Bible. The blind Tobit sends his son Tobias off to collect a sum of money in the distant town of Media, with the angel Raphael accompanying him in disguise as a human. This particular work depicts Raphael overseeing Tobias catching a fish, which would later be used to cure his father's blindness. Artist Bio: Francesco Guardi: A Venetian Master A Family of Artists Francesco Guardi (born 1712, Venice, Italy—died 1793, Venice) was one of the outstanding Venetian landscape painters of the Rococo period. He was born into a family steeped in artistic tradition. His father, Domenico, and brothers, Niccolò and Gian Antonio, were all painters. They likely collaborated on larger commissions, later attributed to Francesco. His sister, Maria Cecilia, even married the renowned Venetian painter, Giovanni Battista Tiepolo. Early Training and Artistic Beginnings Francesco and his brother Nicolò received their artistic training under their elder brother, Giovanni Antonio Guardi. By 1731, the brothers are documented collaborating in a bottega, a combined workshop and shop. Francesco's artistic path initially focused on religious paintings alongside his brother Gian Antonio. Shifting Focus and the Rise of a Vedutista The exact date when Francesco transitioned to the vedute style, detailed paintings of cityscapes and landscapes, remains unclear. Some sources suggest it might have happened in the mid-1750s or later, possibly influenced by the approaching death of his brother Giovanni and a perceived gap in the vedute market after the aging Canaletto became less productive. Early Influences and Establishing a Reputation Francesco's earliest vedute works often carried his signature or initials, perhaps a deliberate strategy to draw attention to his new artistic direction. These early paintings displayed a clear inspiration from Canaletto's works created three decades prior. A Prolific Career and Official Recognition Throughout his career, Francesco Guardi proved to be an exceptionally prolific artist. He received prestigious commissions, such as depicting the official celebrations for Grand Duke Paul's visit to Venice in 1782. He even faced a specific clause in a contract for Pope Pius VI's visit later that year, forbidding him from copying contemporary engravings for his compositions. Guardi's artistic merit was recognized by both the Venetian Republic and international art enthusiasts. He was elected to the esteemed Venetian Academy in 1784 and enjoyed considerable popularity among English and other foreign collectors. Contrasting Styles and a Lasting Legacy Francesco Guardi's paintings stand in stark contrast to Canaletto's work. While Canaletto offered meticulously detailed, almost photographic records of Venetian architecture, Guardi's vedute presented a more scintillating and romanticized view of the city. His loose brushstrokes and focus on light and atmosphere captured the essence of Venice, even as the once-powerful Republic began to decline. Francesco Guardi's artistic legacy endures. His innovative style and evocative portrayals of Venice continue to inspire and captivate audiences today.
Issuer: rLzncbwKysPuA9FvrocUKBZUbQGiBBPNk3
Taxon: 2
- technique : oil on canvas
- culture : Italy, 18th century
- creation date : 1750s
- artist: Francesco Guardi
- px: 5316 x 3941
NFTokenID: 00081770DB35F371D4D6B9E351DA0CF20D4EBF5F49F78DB9AF6FA455042C1EBC
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Description
This series of paintings predominantly tells the Old Testament story of Abraham and Isaac, and each of the canvases treats the interaction of humans and angels. In three works, angels appear to Abraham. However, the narrative of Tobias and the Angel comes from an entirely different book of the Bible. The blind Tobit sends his son Tobias off to collect a sum of money in the distant town of Media, with the angel Raphael accompanying him in disguise as a human. This particular work depicts Raphael overseeing Tobias catching a fish, which would later be used to cure his father's blindness. Artist Bio: Francesco Guardi: A Venetian Master A Family of Artists Francesco Guardi (born 1712, Venice, Italy—died 1793, Venice) was one of the outstanding Venetian landscape painters of the Rococo period. He was born into a family steeped in artistic tradition. His father, Domenico, and brothers, Niccolò and Gian Antonio, were all painters. They likely collaborated on larger commissions, later attributed to Francesco. His sister, Maria Cecilia, even married the renowned Venetian painter, Giovanni Battista Tiepolo. Early Training and Artistic Beginnings Francesco and his brother Nicolò received their artistic training under their elder brother, Giovanni Antonio Guardi. By 1731, the brothers are documented collaborating in a bottega, a combined workshop and shop. Francesco's artistic path initially focused on religious paintings alongside his brother Gian Antonio. Shifting Focus and the Rise of a Vedutista The exact date when Francesco transitioned to the vedute style, detailed paintings of cityscapes and landscapes, remains unclear. Some sources suggest it might have happened in the mid-1750s or later, possibly influenced by the approaching death of his brother Giovanni and a perceived gap in the vedute market after the aging Canaletto became less productive. Early Influences and Establishing a Reputation Francesco's earliest vedute works often carried his signature or initials, perhaps a deliberate strategy to draw attention to his new artistic direction. These early paintings displayed a clear inspiration from Canaletto's works created three decades prior. A Prolific Career and Official Recognition Throughout his career, Francesco Guardi proved to be an exceptionally prolific artist. He received prestigious commissions, such as depicting the official celebrations for Grand Duke Paul's visit to Venice in 1782. He even faced a specific clause in a contract for Pope Pius VI's visit later that year, forbidding him from copying contemporary engravings for his compositions. Guardi's artistic merit was recognized by both the Venetian Republic and international art enthusiasts. He was elected to the esteemed Venetian Academy in 1784 and enjoyed considerable popularity among English and other foreign collectors. Contrasting Styles and a Lasting Legacy Francesco Guardi's paintings stand in stark contrast to Canaletto's work. While Canaletto offered meticulously detailed, almost photographic records of Venetian architecture, Guardi's vedute presented a more scintillating and romanticized view of the city. His loose brushstrokes and focus on light and atmosphere captured the essence of Venice, even as the once-powerful Republic began to decline. Francesco Guardi's artistic legacy endures. His innovative style and evocative portrayals of Venice continue to inspire and captivate audiences today.
"Tobias and the Angel", Francesco Guardi
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