V enetian S chool 18 T h C entury
20. A Convent Parlor
Pen and brown ink and brown wash. Laid down
160 x 204 mm
Inscribed on the old mount in brown ink lower left: Antonio Canal feci and lower right: Disegno Originale di
Francesco Guardi ad imitazione del Maestro suo Canaletto
This is a most puzzling drawing. It has been laid down and at the left is written: Antonio Canal feci and right
Disegno originale di Francesco Guardi ad imitazione del Maestro suo Canaletto [ Original drawing by Francesco
Guardi imitating his Master Canaletto]. At first both attributions seen implausible but this rapid and well-
executed study, certainly drawn on the spot, representing a convent parlor where daughters of noble families
received friends and relatives where they could converse through a grill. The elegance of the room with the typical
Venetian chandelier reminds us of interiors found in works of Francesco Guardi, Pietro Longhi and others. The
intelligent use of wash and the skilful arrangement of the figures as well as the walls and the grilled windows; these
seem to us to be drawn in a very similar way to those found in Francesco Guardi’s drawing of the 1750s in Museo
Correr of The Nunnery Parlor at San Zaccaria 1 where the execution of the grills, sloppily drawn, can be seen.
There is though something still insoluble. How did Domenico Tiepolo come to use this composition in one of his
Scenes of Contemporary Life 2 . For this drawing is followed in one of this series. It is in the museum at Ottawa. And
follows precisely, apart from the young boy by the column on the left and the wall and window with two female
figures conversing with a nun behind its grill at right. The Ottawa drawing is signed and dated by Domenico
1791. Let us not forget that in 1719 Giambattista Tiepolo married Cecilia, Francesco Guardi’s sister and family
collaboration was quite common in Venice at this time. Perhaps this rapid study may in time turn out to be by
Francesco Guardi and may date from the 1750 s . It is worth remembering the words of James Byam Show 3 in
his review for Art News of the exhibition of The Four Guardis he wrote: “ I believe that he (Guardi) turned to
view painting, inspired by Canaletto’s success with the foreign visitors, perhaps even after a late apprenticeship
in Canaletto’s studio, in the second half of the 1750s. The evidence of a contemporary diarist, Pietro Gradenigo,
who refers to Francesco in 1764 as buon scolaro del rinomato Canaletto (gifted pupil of the famous Canaletto) is
not lightly to be disregarded.”.
So perhaps the late 18 th century or early 19 th century inscription on the mount to Francesco Guardi is correct!
( JS and GG )