Thursday, July 19, 2018

Roman Campagna in the Seventeenth Century

Stefano della Bella
Campagna scene with artist sketching
before 1647
etching
National Gallery of Art, Washington DC

Stefano della Bella
Mounted peasant with a child in her arms
(from Six Large Views of Rome and the Campagna)
1654
etching
Art Institute of Chicago

 
Stefano della Bella
Two riders passing a flock
(from Six Large Views of Rome and the Campagna)
1654
etching
Art Institute of Chicago

Jan Both
View of the Tiber in the Campagna
ca. 1644-52
etching
National Galleries of Scotland

Karel Dujardin
Herdsman with an Ox, an Ass, and Sheep in the Campagna
ca. 1661-64
oil on panel
Royal Collection, Great Britain

"Born in Amsterdam, Dujardin probably first went to Rome during the late 1640s.  Despite his frequent travelling and ability to amalgamate various influences and styles, he retained a Dutch flavour in his paintings.  The landscape is arid; the ground is rough and dry, with a few thin patches of grass, and the trees beyond the fence are sparse.  The young herdsman and his dog cut two solitary figures with their backs turned away from the ox, ass and sheep.    The boy is absorbed in the task of fixing his boot, his left hand pinching the leather.  Dujardin reworked this detail to ensure that the angle of the boot was in correct perspective, but the original positioning of the foot slightly lower down is clear to the naked eye.  The overall pose of the herdsman recalls the figure of the Spinario, a boy with a thorn in his foot, portrayed in classical sculpture."

– from curator's notes at the Royal Collection

Karel Dujardin
Buildings and ruins in the Roman Campagna
before 1678
drawing
Art Institute of Chicago

Claude Lorrain
House in the Campagna
before 1682
drawing
Royal Collection, Great Britain

Claude Lorrain
Pastoral caprice with the Arch of Constantine and the Colosseum
ca. 1648
wash drawing
National Galleries of Scotland

Claude Lorrain
View of the Roman Campagna from Tivoli
ca. 1644-45
drawing
British Museum

"A view of the Roman Campagna from Tivoli, record of the painting in the Royal Collection [directly below].  The drawing corresponds closely to the painting, but is extended slightly on all four sides.  Combined with the fact that the painting is about 4 x 7 cm smaller than its pendant, this suggests that it may have been cut down by these amounts."

– from curator's notes at the British Museum

Claude Lorrain
View of the Roman Campagna from Tivoli
ca. 1644-45
oil on canvas
Royal Collection, Great Britain

"The rich intensity of this evening landscape has been revealed by the recent conservation of this little-known painting.  Unlike the majority of Claude's works, the picture has no other subject matter than the drama and beauty of the Campagna – the countryside around Rome.  The landscape around Tivoli had been a popular sketching spot, particularly with Northern artists, since the end of the sixteenth century, and Claude's visits to the Roman Campagna were part of a well-established pattern.  The landscape was filled with medieval and ancient ruins that were particularly attractive to artists.  Frederick, Prince of Wales, whose collection included a number of Italianate landscape views by Claude and Gaspard Dughet, probably purchased this work.  The painting hung in Buckingham House under George III, ca. 1774 in the King's dressing room and by 1817 in the Blue Velvet Room.  By 1855 it had moved to the King's Bedroom, Windsor Castle."  [It is visible in the watercolor view of that room directly below, located immediately to the right of the door.]

James Roberts
King's State Bedchamber, Windsor Castle
(as decorated for the visit of Napoleon III)
1855
watercolor
Royal Collection, Great Britain

attributed to Gaspard Dughet
Fortified house in the Roman Campagna
before 1675
drawing
British Museum

Abraham Genoels
Italian landscape on the borders of the Roman Campagna
ca. 1674-82
drawing
British Museum

Gaspar van Wittel
View of the Roman Campagna
ca. 1675-1700
drawing
Morgan Library, New York

Anonymous artist
View of the Roman Campagna
ca. 1680-90
watercolor
Victoria & Albert Museum