Guardi, Francesco – De brand in de wijk van San Marcuola, Venetië, 28 november 1789, 1789-1820 Rijksmuseum: part 3

The canvas presents a scene of urban devastation and communal response. Here we observe a densely populated area, seemingly a residential district, partially consumed by fire. The flames are not overtly dramatic; instead, they appear as a diffused glow emanating from the center of the composition, subtly illuminating the surrounding structures. Smoke hangs heavy in the air, obscuring details and contributing to an atmosphere of muted chaos.
The architecture is characteristic of a European city – tall, narrow buildings with multiple stories, constructed primarily of brick and stone. The damage appears localized; some buildings are entirely destroyed, while others stand relatively intact, suggesting a contained but significant event. A canal or waterway runs along the foreground, reflecting the light from the fire and providing access to the affected area.
A large gathering of people occupies much of the lower portion of the painting. They appear to be onlookers, some actively engaged in what seems like rescue efforts – reaching towards the water’s edge with ropes or other implements. Their clothing suggests a middle-class populace; hats are prevalent, and garments seem practical rather than ostentatious. The figures are rendered with a degree of anonymity, emphasizing their collective response over individual narratives.
The artists use of color is restrained. Earth tones – browns, ochres, grays – dominate the palette, reinforcing the somber mood. A hazy sky contributes to the overall sense of melancholy and uncertainty. The brushwork appears loose and rapid, conveying a feeling of immediacy and perhaps even capturing the fleeting nature of the disaster.
Subtly embedded within this depiction is an exploration of community resilience in the face of adversity. While destruction is evident, the presence of so many people suggests not despair but rather a collective effort to mitigate the damage and assist those affected. The waterway, typically a symbol of commerce and connection, here becomes a conduit for rescue and aid. The painting doesnt offer overt commentary on the cause of the fire; instead, it focuses on the human response – the shared experience of witnessing loss and engaging in acts of compassion. It is an observation of urban life disrupted, but not entirely defeated.