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European Art before 1900

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Image of The Ridotto

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Bookmark: https://collection.sdmart.org/objects-1/info/1618

The Ridotto

Giuseppe de Gobbis, Italian, (ca. 1730–after 1787)
Previously attributed to Pietro Longhi (AKA Falca), Italian (Venetian), (1702–May 8, 1785)

Creation date: ca. 1760
Creation place: Italy

Other Information

Type: Oil Painting
Medium and Support: Oil on canvas
Credit Line: Gift of Anne R. and Amy Putnam and commemorating the Silver Jubilee Celebration of Fine Arts Society
Accession Number: 1950.96
State/Province: Venice
Dimensions: 33 x 45 1/4 in. (84 x 115 cm)

Provenance

Olaf Sundin, London, England ( - )

Chapman Brothers Limited, London, England ( - )

Sotheby's, London, England (May 15, 1929 - May 15, 1929)

Jacob M. Heimann, New York, New York (1940 - 1950)

Anne R. and Amy Putnam, San Diego, California (1950 - 1950)

San Diego Museum of Art, San Diego, California (1950 - )

Label Copy

The interior scenes of 18th-century Venetian life painted by Pietro Longhi (1700/02–1785) were inspired by Dutch genre paintings of the previous century, and they are a counterpart to the cityscapes of Canaletto. Longhi’s work was intensely popular, and his large studio often replicated his compositions. Giuseppe de Gobbis was his primary assistant, and he seems to have been responsible for these canvases, which replicate Longhi’s work, and which exist in at least four other versions. A ridotto was a sort of gaming establish¬ment where all layers of society engaged in discussion, gambling, conspiracy, or simple flirtation. Most visitors wore masks, which made recognition virtually impossible. A principal attraction for the many foreign visitors to the city, the ridotti were by 1768 so infamous that the Doge of Venice ordered them closed. The companion canvas, The Convent Parlor, depicts the visiting room at the convent of San Zaccaria. Convents were by this time filled with the younger daughters of the Venetian aristocracy and accordingly had the organized visits seen here. The focus of the scene, however, is but, rather, the amorous encounter between the masked visitors, not the girls behind the convent grating.
Last Updated: 1/4/2010

Exhibition

This object was included in the following exhibitions:

Four Centuries of Venetian Painting Toledo Museum of Art , 3/1/1940 - 3/31/1940

Man, Glory, Jest and Riddle: A Survey of the Human Form Through the Ages The Fine Arts Museums of San Francisco, California Palace of the Legion of Honor , 11/10/1964 - 1/3/1965

Genre and Myth The San Diego Museum of Art , 8/13/2016 - 00/00/00

Bibliography

This object has the following bibliographic references:

Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings Harvard University Press. Cambridge, Massachusetts, 1972
Page Number: 108

Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings Harvard University Press. Cambridge, Massachusetts, 1972
Page Number: 506

Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings Harvard University Press. Cambridge, Massachusetts, 1972
Page Number: 632

The Fine Arts Gallery of San Diego Catalogue: San Diego Museum of Art. San Diego, California, 1960
Page Number: 76

Terisio Pignatti. L'opera completa di Pietro Longhi Rizzoli Editore. Milano, Italia, June 1974
Page Number: 107, 108, Figure Number: 308

Man, Glory, Jest and Riddle: The Fine Arts Museums of san Francisco. San Francisco, California, 1964
Page Number: Cat. no. 200

Important Old Master Paintings Sotheby's. New York, New York, January 27, 2005
Page Number: 182

Four Centuries of Venetian Painting Toledo Museum of Art. Toledo, Ohio, 1940
Page Number: cat. no. 34

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