The Feast of the Ascension in St Mark’s Square

Guardia’s brushwork is freer than that of his predecessor Canaletto, employing a broader, more animated handling of paint. A palette ranging from the pale stone of the architecture to the deeper hues of the spectators’ garments creates contrast and a sense of movement, while the sky’s blue and white clouds provide a luminous backdrop.

After the death of his brother Gian Antonio in 1760, Guardi turned away from religious commissions toward secular cityscapes, a shift reflected in this painting. The work entered the Calouste Gulbenkian Museum’s holdings in the twentieth century, where it remains on display.

Created during the late Rococo period, the painting illustrates the evolution of Venetian vedute from the precise, topographical approach of Canaletto to a more atmospheric, impressionistic rendering. Guardi’s depiction of a civic festival aligns with the era’s interest in documenting everyday urban spectacles.