Longhi's particular talent for small interior scenes, carefully observed and charmingly peopled, was quickly appreciated in his native Venice, where he became a successful painter after training in Bologna with Giuseppe Maria Crespi. The careful characterisation of the figures in Longhi's pictures, some of which appear to be portraits, and the great care with which he observed everyday objects - for instance the footstool in this picture - elevate his work beyond the decorative.

Blind Man's Buff formed part of George III's purchase of Consul Joseph Smith's collection of paintings, drawings, prints and books and was recorded at St James's Palace in 1819. The painting, along with its pendant The Married Couple's Breakfast (RCIN 403029) is unusual in Longhi's oeuvre: both are on panel and are signed and dated, indicating the importance of Smith's patronage for the artist.

The painting depicts a game of blind man's buff played by six elegantly dressed ladies and gentlemen. Known as 'the game of love' it was frequently painted by eighteenth-century French artists to signify the follies of passion. Charles Sorel wrote in 1642 that 'binding the lovers' eyes is meant to represent their blindness and the confusion of the various passions and affections that are excited by love. Here the lady in pink is poised in the centre of the scene, as if about to join in a dance, provocatively lifting her dress to reveal her elegant stockinged ankle. The painting on the wall behind possibly shows Sophonisba, the wide of the Numidan leader Massinissa, a popular subject for grand historical paintings. The story concerns the terrible consequences of passion - and is a subtle comment of the joyful game taking place before it.

Several preparatory drawings for this painting, and its pendant, are in the Museo Correr.
 
The frame is a good example of the 'carved gilt frames in modern & elegant taste' in which Smith's paintings were described in the 'Italian List', drawn up in George III's reign; it is a refined product of a Venetian workshop. 

Signed and dated Petrus Longhi F 174[4?]

Catalogue entry adapted from Canaletto & the Art of Venice, London, 2017.