Biography and informationEdit
The first artistic skills learned from his father. Studied with Antonio Balestra and Giuseppe Maria Crespi. Also acted as a printmaker. In 1720-30 - ies created altars for the churches of Venice and other Northern Italian cities. In 1734, Visited Bologna. In 1740-ies the subject of the image become representatives of the high society and the events on the streets of Venice. 31 Dec 1756, was admitted to the Venetian Academy of painting and sculpture. In 1766 he became an honorary member of the Academy of arts.
Italian painter, draftsman, representative of the Venetian school. The name of Pietro Longhi, the eminent painter, Creator of a special kind of Venetian genre, virtuosic masters of street scenes and domestic sketches - virtually unknown in our country, as in the Russian collections there is not a single work by this artist. Real name Longhi - Pietro Falk, but the documents pertaining to the Mature period of his work, he appears under a pseudonym, the origin of which is unclear
The artist was born in Venice and his first lessons in art from his father A. Falk - famous master silversmith. Inspired by the painting, he took another name. As an artist, Longo began with an altar of images, dabbled in painting, but failed. The original was a master of silver, then enrolled in training to the Bologna painter Giuseppe Crespi.
Returning to Venice in 1732, he tried unsuccessfully to do a monumental painting ("the overthrow of the giants", painted in the Palazzo Sagredo, circa 1734), but eventually devoted himself exclusively to genre painting (under the influence of the genre painters of the French Rococo).
In his paintings significantly influence Crespi, however, the brushwork longs thinner, the surface of the paintings is more smooth. His scenes lack vitality, but they are bright and cheerful in color. Paintings by Longhi, quickly became a popular illustration contemporary artist of Venetian life: the scenes in the salons, boudoirs, coffee shops, etc., for example, the painting "the Concert" (Venice, Academy Gallery) and "Rhinoceros" (London, national gallery).
In 1737 it was assigned to the Guild of Venetian painters. In his creative Prime, at the turn of the 1730-1740-ies passed from school of monumental painting and was fond of writing small paintings depicting the peasant at first and then scenes from the life of the urban bourgeoisie, street scenes before him That in Venice one did not. The paintings were a great success, they are eagerly bought in Venice to decorate their Palazzo. Over time, he had pupils, followers and even imitators. Despite this, against the background of Venetian art the works of Pietro Longhi remained a phenomenon sufficiently isolated.
In his paintings seem to come alive the characters of Goldoni, a close friend of the artist; perhaps some of the motifs and themes for his paintings Longhi saw in theatrical performances, however, contemporaries bribed it is the vitality of his art. "Brush, seeking the truth" (реnnеl se of Sega il vего) - as defined Goldoni essence of a painter, which he considered his soul mate. Both found their heroes in patrician society, either among the living in the outskirts of Venice the common people; both in the centre of the "narrative" we often see female character. But this, perhaps, the resemblance ends.
During his walks around the city sees a good Longhi the Venetian people. He writes laundresses, saleswomen pretzels, "ciambelle", furlano, performed to the accompaniment of a tambourine in some remote corner. Neither in his paintings nor in the books of the time of the Venetian people do not seem unhappy, disadvantaged. He is also involved in the celebration of life. In this deep difference of Venice in the XVIII century from Paris. In the soul of the simple people lived here such a sense of beauty, this innate aristocratic tastes and pleasures, which was not known France, despite a long and hard court training. Because only this can explain the creation of the Italian national genius as a Comedy of masks.
Longs correctly understood the main art "nerve" of the then Venetian life -- the beauty mask. The mask is the main motive of almost all of his paintings. The idea of long positions is inseparable from the idea of bautte about this strange established the form of the Venetian carnival. Bautta, - so do dominos, but Venetian bautta subject to amazingly strict pattern and the strict combination of two colors, black and white. In this is a great habit to artistic law and is still the Manager of the city of black gondolas and black shawls, Zendaletto. Venetian Bauta consisted of a white satin mask with a sharp triangular profile and deep depressions for eyes, and a wide black cloak with black lace drape. To the mask was attached a piece of black silk completely covered the lower part of the face, neck and head. On the head was worn a triangular black hat, trimmed with silver braid. When Boutte wore white silk stockings and black shoes with buckles.
Throughout his life the artist turned to portrait. He created a series of images of people of his era. His talent was not in the front, and chamber images.
The fate of the creative heritage of Pietro Longhi was not easy. The high artistic merit of his works for a long time been underestimated. Today it has occupied a prominent place in the history of Venetian painting and as one of its most prominent masters.
Alessandro Longhi (12.6.1733, Venice, to November 1813, ibid.), the son of Pietro Longhi, studied with his father, was a portraitist. For his works ("the Family of Pisan", 1758, a collection of Bentivoglio, Venice) is characterized by the combination of the representativeness with a mild sweetness in the interpretation of models, free brushwork.