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Eyes to behold stunning artworks in world-class museums.

From 1775 To 1784

  • Yoel Davis

Yoel Davis

•4 min read
French, Grasse 1732–1806 Paris / The Met

    In 1756, having won the Prix de Rome, Fragonard departed for four years at the French academy in that city, a traditional rite of artistic passage.
    Practically nothing is known of his journey from Paris, but on the return trip he traveled by way of Florence to Venice, west to Marseilles, and north through Lyons.
    He visited the principal cities of Italy again in 1774, as well as Vienna and Frankfurt.
   This painting is most likely an imagined conglomeration of the kinds of gardens, architecture, and sculpture he encountered

The Island of San Michele, Venice

Italian, Venice 1712–1793 Venice / The Met

    Guardi's views of Venice differ from those of Canaletto in that they are less a detailed description of individual buildings than an attempt to convey the magic of the city, enveloped - as here - in a diaphanous, silvery light.
    This picture shows the cemetery island of San Michele with its early Renaissance church, designed by Mauro Codussi in 1469, at center.
   Flanking the church are the domed Cappella Emiliani and the Gothic bell tower on one side and the (former) Camaldolensian monastery on the other

Mrs. Grace Dalrymple Elliott (1754?–1823)

British, Sudbury 1727–1788 London / The Met

    In 1774 Gainsborough moved to London, and by 1777 he was exhibiting portraits of members of the royal family at the Royal Academy.
    This full-length of the statuesque Mrs. Elliott - a Scottish lady of great beauty but a scandalous reputation - was apparently commissioned by her lover, the first marquis of Cholmondeley, and was shown in 1778.
    Its elegance, delicate golden coloring, and fluid handling reflect the influence of Van Dyck, who created the template for aristocratic composure.

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