Pietro LonghiItálie, 1702–1785The Painter in His Studio
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Kde je teď „The Painter in His Studio“? Muzeum J. Paula Gettyho, Museum South Pavilion, Gallery S201, Los Angeles. Ano, právě vystaveno. Ověřeno 5. října 2026.
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A Venetian woman sits for her likeness in Pietro Longhi's The Painter in His Studio, about 1741–1744, in the J. Paul Getty Museum, Los Angeles. Tools and studio props surround the painter as he works, turning portrait-making into a private episode of contemporary life. The sitter has a costumed companion, who has taken off his mask. During the months of Carnival, that disguise would let him move through public places without being recognized. The scene is on view in the South Pavilion, gallery S201.
Slovy muzea
Pietro Longhi depicts the act of painting as an intimate scene of contemporary life. Longhi invites the viewer into a painter's studio, where the artist, surrounded by an array of his tools and props, creates a faithful likeness of a typical Venetian lady sitting for her portrait. Her costumed companion has removed his mask, which allowed him to pass incognito in public during the free-spirited months of Carnival.
Muzeum J. Paula Gettyho
Podrobnosti
- Inventární číslo
- 2011.20
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Zdroje
- Muzeum J. Paula Gettyho
- Obrázek: Muzeum J. Paula Gettyho — Open Content
V životě: Pietro Longhi
Celý životopis1737–1750
Hogarth and Watteau through Filpart's engravings
It is believed that Longhi knew the work of Flemish and English masters such as William Hogarth and French painters such as Antoine Watteau from engravings brought to Venice by the French painter and engraver Joseph Filpart, who worked there from 1737 to 1750. The examples of Rosalba Carriera, a master of pastel, and of his friend Jacopo Amigoni also led him toward a subtler application of tone.
1740
Settles with Leonardo Emo in San Pantalon
Takes up residence with Leonardo Emo in the parish of San Pantalon, in the building where he will live for the rest of his life.
1741
Birth of his daughter Antonia Lucia
A daughter, Antonia Lucia, is born; like her elder sister Maddalena Anna, she lives to adulthood.
1741
Zanetti mentions Longhi's altarpiece
The historian of the Venetian school Antonio Maria Zanetti mentions Longhi's altarpiece “Adoration of the Magi” in the Venetian church of Santa Maria Mater Domini. The painting vanished from the church at the beginning of the 19th century; in 1964 Martini recognised it, with some uncertainty of attribution, in the Venetian Scuola di San Giovanni Evangelista.
