Francesco Guardi, 'Venice: The Arsenal', 1755-60
About the work
Overview
The Venetian Arsenal, a fortified shipyard and armoury, had been celebrated as a symbol of the Venetian Republic’s domination of the Mediterranean sea trade since the twelfth century. Its ornate gateway is decorated with statues of Greek and Roman gods; standing guard is the lion, a symbol of the city. Other statues of lions crouch, seeming ready to pounce on intruders and saboteurs.
High walls once shielded the Arsenal from public view, but the open window and the people coming out of the gate suggest that the once formidable security has been relaxed. By the mid-eighteenth century, Venice was no longer such a great sea power, though during Guardi’s lifetime the city’s ports and harbours remained lively trading hubs. Here, Venetians, tourists, seamen and traders gather in leisurely groups, but the hoisted bridge and large barge being pulled along the canal hint that everyday business continues.
In-depth
The Venetian Arsenal, a fortified shipyard and armoury, had been celebrated as a symbol of the Venetian Republic’s domination of the Mediterranean sea trade since the twelfth century. Here we see the main gateway, its classical columns and pediments decorated with statues of Greek and Roman gods, whose attributes are symbols of war, victory, justice and wealth. Standing guard is a majestic lion, the symbol of Saint Mark, patron saint of Venice. Other statues of lions crouch, appearing ready to pounce on intruders and saboteurs. The bronze flagstaff in the centre of the square was installed in 1693 to commemorate Doge Francesco Morosini’s naval victories against the Turkish empire from 1688 to 1694.
High, heavily guarded walls once shielded the Arsenal from public view, but the open window to the left and people coming out of the gate suggest that the once formidable security has been relaxed. In its heyday the Arsenal was a powerful, self-contained community of shipbuilders and labourers; by the mid-eighteenth century, Venice was no longer such a great sea power, and shipbuilding was in a state of decline. Here, the Arsenal is depicted as part of a picturesque scene rather than a vital part of the economy, though during Guardi’s lifetime the city’s ports and harbours remained lively trading hubs. Venetians, tourists, seamen and traders gather in leisurely groups, but a hoisted bridge and large barge being pulled along the canal hint that everyday business continues.
Painted in around 1755/60 as one of Guardi’s earliest views, this composition is based on etchings by his near contemporaries Luca Carlevarijs and Michele Marieschi. Guardi likely derived his composition for Venice: The Grand Canal with Palazzo Pesaro from a design by Marieschi, but the main source of inspiration for many of his paintings was Canaletto. Here, Guardi leaves us in no doubt as to who painted this work: his signature appears on a cartellino or scroll attached to the plinth below the main lion.
Key facts
Details
- Full title
- Venice: The Arsenal
- Artist
- Francesco Guardi
- Artist dates
- 1712 - 1793
- Date made
- 1755-60
- Medium and support
- oil on canvas
- Dimensions
- 62.3 × 96.9 cm
- Inscription summary
- Signed
- Acquisition credit
- Presented by Alfred A. de Pass, 1920
- Inventory number
- NG3538
- Location
- Room 33
- Collection
- Main Collection
- Frame
- 18th-century English Frame
Provenance
Additional information
Text extracted from the ‘Provenance’ section of the catalogue entry in Michael Levey, ‘National Gallery Catalogues: The Seventeenth and Eighteenth Century Italian Schools’, London 1986; for further information, see the full catalogue entry.
Exhibition history
-
2012Francesco Guardi (1712 - 1793)Museo Correr29 September 2012 - 17 February 2013
Bibliography
-
1956Levey, Michael, National Gallery Catalogues: The Eighteenth Century Italian Schools, London 1956
-
1986Levey, Michael, National Gallery Catalogues: The Seventeenth and Eighteenth Century Italian Schools, London 1986
-
2001
C. Baker and T. Henry, The National Gallery: Complete Illustrated Catalogue, London 2001
About this record
If you know more about this painting or have spotted an error, please contact us. Please note that exhibition histories are listed from 2009 onwards. Bibliographies may not be complete; more comprehensive information is available in the National Gallery Library.