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Here are all the paintings of LONGHI, Pietro 01
| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 7979 |
 |
Duck Hunters on the Lagoon s |
c. 1760
Oil on canvas
Pinacoteca Querini Stampalia, Venice |
| 41218 |
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Duck Shoot on the Lagoon |
mk157
c.1760
Oil on canvas
57x74cm
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| 7986 |
 |
Il Ridotto sg |
1740s
Oil on canvas
Accademia Carrara, Bergamo |
| 7982 |
 |
Painter in his Studio sg |
1740-45
Oil on canvas
Ca' Rezzonico, Venice |
| 7983 |
 |
Patrician Family wg |
c. 1752
Oil on canvas
Ca' Rezzonico, Venice |
| 7977 |
 |
The Concert ef |
1741
Oil on canvas, 60 x 48 cm
Gallerie dell'Accademia, Venice |
| 7978 |
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The Confession sg |
Oil on canvas, 61 x 50 cm
Galleria degli Uffizi, Florence |
| 7989 |
 |
The Little Concert sg |
1746
Oil on canvas, 50 x 62 cm
Pinacoteca di Brera, Milan |
| 21920 |
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The Rhinoceros (mk08) |
c.1751
Oil on canvas
62x50cm
Venice,Ca'Rezzonico |
| 7984 |
 |
The Rhinoceros sg |
1751
Oil on canvas, 62 x50 cm
Ca' Rezzonico, Venice |
| 7985 |
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The Ridotto sg |
1740's
Oil on canvas
Raccotta Salon, Venice |
| 7987 |
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The Soothsayer f |
c. 1750
Oil on canvas, 60 x 48 cm
Gallerie dell'Accademia, Venice |
| 7991 |
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The Spice-vendor's shop g |
c. 1752
Oil on canvas, 60 x 48 cm
Gallerie dell'Accademia, Venice |
| 7988 |
 |
The Tailor sf |
1741
Oil on canvas
Gallerie dell'Accademia, Venice |
| 7990 |
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The Tooth Puller g |
1746
Oil on canvas, 50 x 62 cm
Pinacoteca di Brera, Milan |
| 21921 |
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The Tooth-Puller (mk08) |
c.1746-1752
Oil on canvas,
50x62cm
Milan,Pinacoteca di Brera |
| 7981 |
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The Venetian Lady's Morning s |
c. 1741
Oil on canvas, 60 x 49 cm
Gallerie dell'Accademia, Venice |
| 7992 |
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Vendor of Roast Meat sg |
c. 1757
Oil on canvas
Ca' Rezzonico, Venice |
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| LONGHI, Pietro
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| Italian Rococo Era Painter, ca.1702-1785
Painter and draughtsman. His father, Alessandro Falca, encouraged his natural talent for drawing, and he studied under Antonio Balestra for 'several years', according to his son, Alessandro Longhi. Balestra probably took Pietro to Bologna and recommended him to Giuseppe Maria Crespi. No documents exist on Longhi until 1732, the year he married, and some doubt has been expressed about his study with Crespi. There is no trace of Crespi's influence in Longhi's altarpiece for the parish church of S Pellegrino in Bologna, St Pellegrino Condemned to Death, installed in 1732; Crespi's style is an intimate one, however, and would have been inappropriate for such a large altarpiece. One of Longhi's first independent works, the St Pellegrino altarpiece recalls his Venetian origins and training in its broken brushwork and colour glazes. In another early work, the Adoration of the Magi (Venice, Scuola Grande S Giovanni Evangelista), documented in 1733 as at S Maria Materdomini, Venice, the subject-matter lends itself to a more domestic treatment, and Crespi's influence is evident. Both these works contain passages anticipating Longhi's subsequent development as a genre painter; in each picture a boy or young man, perhaps a self-portrait, gazes out at the spectator, unconcerned with events in the painting.
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