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| Claude Lorrain View of La Crescenza 1648-50 oil on canvas Metropolitan Museum of Art, New York |
"In its immediacy and breadth of handling, this small picture recalls drawings that Claude made from nature in the environs of Rome. The composition is recorded in the painter's Liber Veritatis. The building, which still stands in the outskirts of Rome, was a medieval fortress transformed into a country house, which in the seventeenth century belonged to the aristocratic Crescenzi family."
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| Claude-Lorrain Sunrise ca. 1646-47 oil on canvas Metropolitan Museum of Art, New York |
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| Joseph Mallord William Turner Scene in the Campagna 1812 etching, mezzotint Metropolitan Museum of Art, New York |
"Turner distilled his ideas about landscape in his Liber Studiorum, a series of seventy prints plus a frontispiece published between 1807 and 1819. To establish the compositions, he made brown watercolor drawings, then etched outlines onto copper plates. Professional engravers usually developed the tone under Turner's direction, and Say here added mezzotint to describe a timeless scene near Rome where a woman, stripped to the waist, dips her hands into a water tank near figures that tend sheep. At right a river flows towards a tower, a classical temple and bridge. The letters "EP" in the upper margin likely stand for Elevated Pastoral and were applied by Turner to landscapes within the set that echo the Arcadian sensibility of Claude."
– from curator's notes at the Metropolitan Museum, which do not, however, point out that Turner did not actually travel to Italy and personally observe the terrain for the first time until seven years after this print was executed – it is thus entirely based on the Claudian models that were available to him in London
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| Joseph Mallord William Turner Temple of Minerva Medica 1811 etching, mezzotint Metropolitan Museum of Art, New York |
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| Thomas Cole View near Tivoli (Morning) 1832 oil on canvas Metropolitan Museum of Art, New York |
"Cole was born in England and made two later extended visits to Europe, where he painted views of the scenery to vie with his American vistas. The landscape of Italy particularly interested him, and he drew on the artistic conventions of European masters such as Claude Lorrain to portray it. In the spring of 1832 he made sketches in the Roman Campagna, but he did not paint this canvas until after he returned to Florence in June."
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| Carl von Blaas View of the Roman Campagna with Aqueduct ca. 1850 watercolor Metropolitan Museum of Art, New York |
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| George Inness Across the Campagna 1872 watercolor, gouache Metropolitan Museum of Art, New York |
"The few watercolors that Inness created served primarily as studies for oil paintings. That these works remained in the collections of the artist's descendants reinforces their identity as private instruments and suggests that Inness never intended to offer them for sale. However, his engagement with watercolor flourished during his 1870-1874 stay in Italy, where he had gone primarily to create marketable paintings. . . . Michael Quick has identified Across the Campagna as "a view from near the coast, across the Campagna or Pontine marshes," that is, in the Lazio region, south of Rome."
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| attributed to Altobelli & Molins Men on horseback near Aqueduct ca. 1860-65 albumen silver print Metropolitan Museum of Art, New York |
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| Johann Christoph Erhard View of the Roman Campagna with the Tiber near Torre Quinto 1820 drawing Metropolitan Museum of Art, New York |
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| Samuel Woodforde A Rocky Stream, Italy ca. 1786-91 watercolor Metropolitan Museum of Art, New York |
"Woodforde worked in Italy from 1786 to 1791, based in Rome and spending time with his most important patron Sir Richard Colt Hoare, who built Stourhead. It was probably on an excursion into the Campagna that he came upon the scene depicted here. At the center of the sheet, a large rock stands beside a rushing stream, flanked by foliage and surmounted by a small suspension bridge. An Italianate tower rises in the distance."
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| William Stanley Haseltine Olevano (Campagna Romana) 1858 drawing Metropolitan Museum of Art, New York |
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| Heinrich Dreber Southern Landscape with a Man and a Snake 1847 drawing Metropolitan Museum of Art, New York |
The setting of Dreber's drawing is not specified beyond "Southern Landscape" but it is evidently modeled on certain of Poussin's landscape compositions known to have been derived from the Campagna, particularly in the central pool of water on whose edge is staged a confrontation between a man and a snake.
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| Johann Christian Reinhart Arcadian Landscape with Three Figures at a Lake 1792 drawing Metropolitan Museum of Art, New York |
"Reinhart made this imposing drawing in Rome in 1792, when he and another leading German artist from the period, Joseph Anton Koch, started making "heroic" or "poetic" landscapes inspired as much by the Roman Campagna as by the work of their seventeenth-century predecessors Claude Lorrain, Nicolas Poussin, and Gaspard Dughet. Although the figures are dressed in a style that hints at a specific mythological or historical subject, they were probably used merely to indicate the antique setting of the landscape, as were the villa in the left background and the funerary monuments at center and in the right background. The dense composition and regular hatching are typical of Reinhart's manner throughout his career."
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| Robert Macpherson "Valley of the Anio with the Upper and Lower Cascatelle, Mecenas's Villa, and distant Campagna" before 1858 albumen silver print Metropolitan Museum of Art, New York |
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| George P.A. Healy Portrait of Euphemia White Van Rensselaer 1842 oil on canvas Metropolitan Museum of Art, New York |
"Euphemia Van Rensselaer (1816-1888) was the daughter of Stephen Van Rensselaer and sister of Alexander Van Rensselaer. She was born on the family manor, Rensselaerswyck, near Albany, New York, and inherited a portion of her father's vast estate in 1839. This picture was painted in 1842, the year before her marriage to John Church Cruger, a prominent lawyer with whom she settled on Cruger's Island near Barrytown, New York. Healy painted the portrait in Paris, where he executed works for visiting Americans as well as for the French king, Louis Philippe. He blends both lavish detail and texture with a sensitive portrayal of character before a setting suggestive of the Roman Campagna from which the sitter had just returned."
– quotes passages from curator's notes at the Metropolitan Museum