The Holy Family

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The Holy Family

Artist Francesco Guardi Italian, 1712-1793

Dateabout 1740-1745

DimensionsFrame: 51 × 43 3/8 × 2 1/2 in. (129.5 × 110.2 × 6.4 cm)
45 1/2 × 37 7/8 in. (115.6 × 96.2 cm)

Mediumoil on canvas

ClassificationPaintings

Credit LineGift of Edward Drummond Libbey

Object number

1926.71

Not on View

Collections

Paintings

Published ReferencesFiocco, G., Francesco Guardi, Florence, 1923, p. 69, no. 39, pl. XXIX (as Francesco).

Ojetti, U. L., Dami and N. Tarchiani, La pittura italiana del seicento e del settecento alla mostra di Palazzo Pitti, Florence, 1924, repr. p. 157 (as Gianantonio).

Lasareff, V., "Francesco and Gianantonio Guardi," Burlington Magazine, LXV, Aug. 1934, p. 58 (as Gianantonio).

Bulletin, City Art Museum of St. Louis, XXXI, March 1936, no. 15, p. 26, repr. p. 40.

Goering, M., "Francesco Guardi als Figurenmaler," Zeitschrift für Kunstgeschichte, Berlin, VII, 1938, p. 289 (as Gianantonio).

Godwin, Blake-More, European Paintings in the Toledo Museum, 1939, p. 20, repr. p. 21.

Toledo Museum of Art Museum News, no. 94., June, 1941.

Arslan, E., "Per la definizione dell'arte di Francesco, Gianantonio e Nicolo Guardi," Emporium, July-December 1944, vol. C.

De' Maffei, Fernanda, Gian Antonio Guardi, Pittore di Figura, Verona, Edisioni di Vita Veronese, 1951, detail of angel, pl. XV.

Morassi, A., "Conclusioni su Antonio e Francesco Guardi," Emporium, CXIV, Nov. 1951, pp. 195, 202, fig. 6 (as Gianantonio)

Moschini, Vittorio, Francesco Guardi, Milan, 1952, p. 14 (as Francesco).

Fiocco, G., "Il problema di Francesco Guardi," Arte Veneta, VI, 1952, p. 120 (as Francesco).

Ragghianti, C.L., "Epiloghi Guardeschi," Annali della Scuola Normale Superiore di Pisa, XXII, 1953, pp. 75, 76.

Rasmo, Nicolo, "Recenti Contributi a Gianantonio Guardi," Cultura Atesina, IX, 1955, no. 4, p. 156, no. 20, pl. LXIV, no. 4.

Moschini, Vittorio, Francesco Guardi, London, 1956, p. 18 (as Francesco).

Gioseffi, D., "Per una datazione tardissime delle storie di Tobliolo in S. Raffaele di Venezia con una postilla su Bonifacio Veronese," Emporium, CXXVI, September 1957, p. 109 (as Francesco).

Shaw, J. Byam, "Guardi and His Brothers and His Son," Art News, vol. 56, no. 10, February 1958, pp. 33-35, 52, repr. p. 34 fig. 3 (as Giovanni Antonio Guardi).

Pallucchini, Rodolfo, La pittura Veneziana del settecento, Venice, 1960, p. 139 (as Gianantonio and Francesco).

Encyclopedia Universale Dell' Arte, vol. VII, 1962, repr.

Kerber, B., "Die Ruhe auf der Flucht' Ein Jugendwerk Andrea Pozzos. Wiederholungen, Varianten Und Kopien," Cultura Atesina, XVII, 1963, p. 8, pl. 5, no. 7 (as Gianantonio).

Martini, Egidio, La Pittura Veneziana del Settecento, Venice 1964, p. 114.

Riefstahl, Rudolf M., "What is Conservation?" Toledo Museum of Art Museum News, New Series, vol. 8, no. 3, Autumn 1965, pp. 51-67, repr. p. 66.

Fiocco, Guiseppe, Guardi, Milan, 1965, p. 24, p. 26, repr. (col.) plate XIII (as Francesco).

Pallucchini, Rodolfo, "Note alla mostra dei Guardi," Arte Veneta, vol. 19, 1965, p. 216 (as Gianantonio with intervention of Francesco).

Hannegan, B., "Guardi at Venice," The Art Bulletin, June 1966, vol. XLVIII, no. 2, pp. 248-252 (as Guardiesque).

Toledo Museum of Art, A Guide to the Collections, Toledo, 1966, repr.

Morassi, Antonio, "Altre novita e precisazioni su Antonio e Francesco Guardi," Atti Dell' Accademia di Udine, Serie VII, vol. VIII, 1966/1969, p. 19, p. 287 (as Gianantonio).

Brunetti, Estella, "Consideraziono Guardesche in margine alla mostra," Problemi Guardeschi, Venice, 1967, p. 45, repr. (b&w) tavole 5.

Mahon, D., "The Brothers at the Mostra dei Guardi: Some Impressions of a Neophyte," Problemi Guardeschi, Venice, 1967, pp. 81-82, pl. 5 (detail) (as Francesco).

Waston, F.J.B., "Eighteenth-Century Painting and Decorative Arts," Apollo, vol. 86, no. 70, Dec. 1967, p. 465, repr. (b&w) fig. 23.

Fredericksen, Burton B., and Federico Zeri, Census of Pre-Ninteenth Century Italian Paintings in North American Public Collections, Cambridge, Mass., 1972, p. 98, p. 351.

Morassi, Antonia, Guardi: Antionio e Francesco Guardi, Venezia, 1973, vol. I, p. 315, no. 46, repr. (col.) tav. X, vol. II, repr. fig. 51.

Rossi Bortolatto, Luigina, L'opera completa di Francesco Guardi, Milan, 1974, p. 92, no. 64, repr.

Morse, John D., Old Master Paintings in North America, New York, 1979, p. 160.

Mitchell, Paul, "Italian Picture Frames 1500-1825: a Brief History," Furniture History, vol. 20, 1984, p. 25, pl. 29D (frame of picture only).

Pedrocco, Filippo, Antonio Guardi, Milan, 1992, p. 149, repr. p. 311.

Mich, Elvio, Francesco Guardi nella terra degli avi: dipinti di figura e capricci floreali, Trento, Provincia autonoma di Trento, Soprintendenza per i beni storico-artistici, 2012, p. 54, repr. col. fig. 25.

Tomezzoli, Andrea, ed., I colori della Serenissima: Pittura veneta del Settecento in Trentino, Trento, Castello del Buonconsiglio, 2022, no. 67, p.277-280, repr. (col.) p. 280.

Exhibition HistoryFlorence, Palazzo Pitti, Mostra della pittura Italiana del sei e del settecento, 1922, no. 534 (as Francesco).

St. Louis, City Art Museum of St. Louis, Exhibition of Eighteenth Century Venetian Painting, 1936, no. 15, repr. p. 40 (as Gianantonio).

Iowa City, State University, Figure Paintings, 1936, no. 27.

Springfield, MA, Springfield Museum of Fine Arts, Guardi Exhibition, 1937.

Kansas City, William Rockhill Nelson Gallery of Art, Anniversary Exhibition of Venetian Paintings and Drawings of the Eighteenth Century, 1937.

Toledo, The Toledo Museum of Art, Four Centuries of Venetian Painting, 1940, no. 31, repr. (cat. by H. Tietze, as Gianantonio, with qualifications).

San Francisco, California Palace of the Legion of Honor, 1941.

Toronto, Art Gallery of Toronto; Toledo, The Toledo Museum of Art, Two Cities Collect, 1948, no. 14, repr.

Akron, Akron Art Institute, Masterpieces Series, 1952.

Brooklyn, Brooklyn Museum, Religious Painting, 15th to 19th centuries, 1956, no. 12, repr.

Houston, Museum of Fine Arts of Houston, The Guardi Family, 1958, no. 1, repr. (introd. by J. Byam Shaw, as Gianantonio).

Ann Arbor, University of Michigan Museum of Art, (A long-term loan of a small group of paintings for specific teaching purposes and to establish a standard of value for future collection at Ann Arbor Museum), February 1958 to February 1959.

Venice, Palazzo Grassi, Mostra dei Guardi, 1965, p. 138, repr. (catalog by P. Zampetti, as Francesco)

Chicago, Art Institute of Chicago; Minneapolis, Minneapolis Institute of Art; Toledo, The Toledo Museum of Art; Painting in Italy in the Eighteenth Century: Rococo to Romanticism, 1970-1971, no. 25, repr. (cat. entry by B. Hannegan under Gianantonio, but with attribution to Francesco).

Trento, Italy, Castello del Buonconsiglio, I Colori della Serenissima: Pittura veneta del Settecento in Trentino (The Colors of the Serenissima: Eighteenth-century Venetian painting in Trentino), July 2 - October 23, 2022.

Label TextBest known as a painter of views of Venice, Francesco Guardi’s earlier work focused on figural painting. The Holy Family was originally located in the parish church of Strigno di Valsugana in the Italian Tyrol. The lively, pyramidal composition with Joseph holding the infant Christ is a copy after a 17th-century altarpiece by Baroque artist Andrea Pozzo (1642–1709).