Zitierlink:
https://digi.ub.uni-heidelberg.de/diglit/monatshefte_kunstwissenschaft1909/0405
George A. Simonson. A Connecting-Link between Tiepolo and the Guardi Family 397
collection in London, I mag add, there is a large fresco painting, also by Tiepolo to
which the above description applies.
Besides Venus and Time, with the putto in his arms, there are several other
figures visible in Tiepolo's drawing and the overcrowding of the picture with them
seems to furnish a sufficient clue for supposing that it is an early work of the
painter. There is, however, only internal evidence to settle this question by.
I will now pass on to the inscription, which is inserted in the blank part of
the drawing, to be more precise, in the extreme left-hand top corner of it. As un-
fortunately the process of reproduction on a much reduced scale has, if not effaced,
rendered the text hard to read, I transcribe it in full for the convenience of the reader.
It runs as follows:
Lo fece il Tiepolo e me lo donö Juseppino Guardi.
This inscription may have been added when Giuseppe Guardi parted with the
study, as a guarantee of authenticity, or because he felt proud of owning a work by
the great master. Already in 1719, it may be observed, when Tiepolo married
Cecilia, he was a promising artist. Concerning Giuseppe Guardi we have but little
information. From the genealogical tree of his family 9 we learn that he was a
contemporary of Francesco Guardi's father (Domenico).
9 See the author's monograph on Francesco Guardi. (Methuen & Co., London).
Appendix I.
collection in London, I mag add, there is a large fresco painting, also by Tiepolo to
which the above description applies.
Besides Venus and Time, with the putto in his arms, there are several other
figures visible in Tiepolo's drawing and the overcrowding of the picture with them
seems to furnish a sufficient clue for supposing that it is an early work of the
painter. There is, however, only internal evidence to settle this question by.
I will now pass on to the inscription, which is inserted in the blank part of
the drawing, to be more precise, in the extreme left-hand top corner of it. As un-
fortunately the process of reproduction on a much reduced scale has, if not effaced,
rendered the text hard to read, I transcribe it in full for the convenience of the reader.
It runs as follows:
Lo fece il Tiepolo e me lo donö Juseppino Guardi.
This inscription may have been added when Giuseppe Guardi parted with the
study, as a guarantee of authenticity, or because he felt proud of owning a work by
the great master. Already in 1719, it may be observed, when Tiepolo married
Cecilia, he was a promising artist. Concerning Giuseppe Guardi we have but little
information. From the genealogical tree of his family 9 we learn that he was a
contemporary of Francesco Guardi's father (Domenico).
9 See the author's monograph on Francesco Guardi. (Methuen & Co., London).
Appendix I.