All the oil paintings of LONGHI, Pietro

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ID	Image	Painting(From A to Z)	Details
7979		Duck Hunters on the Lagoon s	c. 1760 Oil on canvas Pinacoteca Querini Stampalia, Venice
41218		Duck Shoot on the Lagoon	mk157 c.1760 Oil on canvas 57x74cm
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		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		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		The Ridotto sg	1740's Oil on canvas Raccotta Salon, Venice
7987		The Soothsayer f	c. 1750 Oil on canvas, 60 x 48 cm Gallerie dell'Accademia, Venice
7991		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		The Tooth Puller g	1746 Oil on canvas, 50 x 62 cm Pinacoteca di Brera, Milan
21921		The Tooth-Puller (mk08)	c.1746-1752 Oil on canvas, 50x62cm Milan,Pinacoteca di Brera
7981		The Venetian Lady's Morning s	c. 1741 Oil on canvas, 60 x 49 cm Gallerie dell'Accademia, Venice
7992		Vendor of Roast Meat sg	c. 1757 Oil on canvas Ca' Rezzonico, Venice

LONGHI, Pietro
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.