Pietro LonghiItalia, 1702–1785The Painter in His Studio
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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.
Getty Museum
Scheda
- Numero di inventario
- 2011.20
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- Getty Museum
- Immagine: Getty Museum — Open Content
Nella vita di Pietro Longhi
Tutta la vita1737–1750
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.
