Andrea Locatelli (1695-1741) - Rome - II

Andrea Locatelli
Roman Forum
before 1741
oil on copper
private collection

Andrea Locatelli
Market in Piazza Navona, Rome
1733
oil on copper
Gemäldegalerie der Akademie der bildenden Künste, Vienna

"Entirely exceptional, in the context of Locatelli's career as a painter of idealised landscapes (eighty paintings are mentioned in an inventory of Palazzo Colonna dating from 1783; over twenty were the property of the Barberini family) are the very few topographical views of Rome (which were, on the contrary, Gian Paolo Pannini's specialty) among which is the Piazza Navona from the Gemäldegalerie der Akademie der Bildenden Künste in Vienna, dating from 1733."

– from curator's notes at Museo Thyssen-Bornemisza

Andrea Locatelli
View of the Colosseum
before 1741
oil on canvas
Fondazione Sorgente Group, Rome

Andrea Locatelli
Wooded Landscape by the Sea with Ruined Temple and Soldiers
before 1741
drawing, with watercolor
British Museum

Andrea Locatelli
Landscape with Figures
before 1741
drawing
Museo del Prado, Madrid

attributed to Andrea Locatelli
Landscape with Three Trees
before 1741
drawing
British Museum

Andrea Locatelli
Landscape with Fishermen by a Stream
ca. 1730
oil on canvas
Kelvingrove Art Gallery and Museum, Glasgow

Andrea Locatelli
Landscape with Tobias and the Angel
before 1741
oil on canvas
National Trust, Hinton Ampner, Hampshire

Andrea Locatelli
Landscape with Figures
before 1741
oil on canvas
Glasgow Museums

Andrea Locatelli
Bacchanalian Scene
before 1741
oil on canvas
National Trust, Osterley Park, London

Andrea Locatelli
Mercury and Argus
before 1741
oil on canvas
private collection

Andrea Locatelli
Landscape and Figures
ca. 1720-25
oil on canvas
Glasgow Museums

Andrea Locatelli
Landscape with Soldiers and Peasants
before 1741
oil on canvas
Nationalmuseum, Stockholm

Andrea Locatelli
Landscape with Nymphs and Satyrs
ca. 1720-30
oil on canvas
Museo Thyssen-Bornemisza, Madrid

Andrea Locatelli (1695-1741) - Rome - I

Andrea Locatelli
Shepherds in a Landscape
before 1741
oil on canvas
Fondazione Sorgente Group, Rome

Andrea Locatelli
Fishermen in a Landscape
before 1741
oil on canvas
Fondazione Sorgente Group, Rome

Andrea Locatelli
Landscape with Bandits and a Dog
ca. 1725-30
oil on canvas
Ashmolean Museum, Oxford

Andrea Locatelli
Landscape with Wounded Bandit and Other Figures
ca. 1725-30
oil on canvas
Ashmolean Museum, Oxford

"Andrea Locatelli, who was extremely famous in his own time, as is clear from the biography that Nicola Pio dedicated to him in 1724, owed his fame particularly to his view of the Roman countryside, which were impeccably painted though somewhat artificial.  However, Locatelli had in fact trained as a painter of sea views in the workshops of very average artists, and as a painter of figures in the workshop of the Luccan artist Biagio Puccini.  Naturally, the 17th-century tradition of Roman landscape painting was fundamental to his development, both with regard to the views of ruins by Salvator Rosa and Giovanni Ghisolfi, and to his own specialty, the idealised representation of the Lazio countryside.  This trend saw contributions in particular from Emilian and Northern classicists such as Gaspard Dughet and Claude Lorrain."

– from curator's notes at Museo Thyssen-Bornemisza

"Andrea Locatelli was active in Rome as a well-regarded painter of landscapes with biblical or mythological figures and appears (judging by his eclectic style) to have absorbed influences from various directions.  The landscape element in his art is reminiscent of Filippo Lauri and Salvator Rosa, though he dissolved the compact silhouettes of such Seicento artists into more transparent, relaxed and scattered compositions which were more in keeping with the gallant sensitivities of the 18th century.  In his treatment of the human figure he followed the elegant style of the followers of Carlo Maratti, at least in the case of biblical or mythological themes.  His genre figures, on the other hand, for all their Settecento grace, betray the most thorough familiarity with the art of Salvator Rosa.  The hazy silvery tonality of Locatelli's landscapes, with the full clarity of their draftsmanship and the certainty of their local tonalities, and the charm and natural manner in which staffage figures are linked with the setting, are all qualities that were highly prized by his contemporaries, especially since they were so accommodating to the altered pictorial taste of the times.  Gian Paolo Pannini was able to appropriate more from the manner of Locatelli than from any other of his predecessors.  Although the historical importance of the two masters is by no means equal, one very vividly senses their artistic affinities in the refinement and tenderness of atmospheric effects and the transparency of landscape form."

– Hermann Voss, from Baroque Painting in Rome (1925), revised and translated by Thomas Pelzel (San Francisco: Alan Wofsy, 1997)

Andrea Locatelli
Landscape with Waterfall and Distant Lake
ca. 1730-40
oil on canvas
National Galleries of Scotland

Andrea Locatelli
Rocky Landscape with Natural Arch and Distant Tower
ca. 1730-40
oil on canvas
National Galleries of Scotland

Andrea Locatelli
Bacchanal with the Drunken Silenus on an Ass
before 1741
oil on canvas
National Trust, Osterley Park, London

Andrea Locatelli
Nymphs and Satyrs celebrating Flora and Priapus with Flowers
before 1741
oil on canvas
National Trust, Osterley Park, London

Andrea Locatelli
Venus and Vulcan
before 1741
oil on canvas
private collection

Andrea Locatelli
Venus and Adonis
before 1741
oil on canvas
private collection

Andrea Locatelli
River Landscape with Bathers and Shepherds
before 1741
oil on canvas
private collection

Andrea Locatelli
Faun and Nymph reclining in a Landscape
before 1741
oil on canvas
private collection

Andrea Locatelli
Landscape with Ruin and Two Figures on a Road
before 1741
oil on canvas
National Trust, Stourhead, Wiltshire

Andrea Locatelli
Classical Landscape
before 1741
oil on canvas
Auckland Art Gallery

Viviano Codazzi (ca. 1604-1670) - Naples and Rome

Viviano Codazzi and Domenico Gargiulo
Courtyard of an Inn with Classical Ruins
(architectural landscape by Codazzi, figures by Gargiulo)
ca. 1621-47
oil on canvas
Walters Art Museum, Baltimore

Viviano Codazzi and Domenico Gargiulo
Capriccio of the internal Courtyard of a ruined Palace with the Miracle of St Paul
(architectural landscape by Codazzi, figures by Gargiulo)
ca. 1635-40
oil on canvas
private collection

Viviano Codazzi and Domenico Gargiulo
Capriccio of the Exterior of an elaborate Palace with St Peter healing the Lame
(architectural landscape by Codazzi, figures by Gargiulo)
ca. 1635-40
oil on canvas
private collection

Viviano Codazzi and Domenico Gargiulo
Adoration of the Shepherds
(architectural landscape by Codazzi, figures by Gargiulo)
before 1647
oil on canvas
Museum of Fine Arts, Houston

Born in Bergamo, Viviano Codazzi grew up in Naples, where he received early training and began his career.  He specialized in perspective views, sometimes collaborating with other artists who populated his architectural scenery with lively little figures.  During the Naples period these collaborators were primarily two – Domenico Gargiulo and Aniello Falcone.  In the aftermath of Masaniello's Revolt against Spain in 1647, Codazzi fled Naples, resettling in Rome, where he remained for the final two decades of his life.  There, his occasional collaborators included the painters Adriaen van der Cabel and Michelangelo Cerquozzi. 

Viviano Codazzi and Aniello Falcone
St Peter's Square, Rome
(architectural landscape by Codazzi, figures by Falcone)
1636
oil on canvas
Museo del Prado, Madrid

Viviano Codazzi
Temple Ruins
ca. 1630
oil on canvas
Shipley Art Gallery, Gateshead, County Durham

Viviano Codazzi
Architectural Fantasy
ca. 1630-37
oil on canvas
Christ Church, University of Oxford

Viviano Codazzi
Landscape with Ruins
ca. 1640-45
oil on canvas
private collection

Viviano Codazzi and Adriaen van der Cabel
Capriccio of a ruined Triumphal Arch and Soldiers
ca. 1659-66
oil on canvas
private collection

Viviano Codazzi
Arch of Constantine, Rome
ca. 1655
oil on canvas
Government Art Collection, London

Viviano Codazzi
The Nativity in an ancient Ruin
ca. 1655-65
oil on canvas
private collection

Viviano Codazzi
Campo Vaccino, Rome
before 1670
oil on canvas
Musée des Beaux-Arts de Béziers

Viviano Codazzi
Ruined Temple with Sacrificial Scene
1650
oil on canvas
National Trust, Attingham Park, Shropshire

Viviano Codazzi
Town Scene in Italy with Ancient Ruins
before 1670
oil on canvas
Bowes Museum, Barnard Castle, County Durham

Views in Rome by Giovanni Volpato and Louis Ducros

Giovanni Volpato and Louis Ducros
Baths of Caracalla
ca. 1780
hand-colored etching
Metropolitan Museum of Art, New York

Giovanni Volpato and Louis Ducros
Interior of the Baths of Caracalla
ca. 1780
hand-colored etching
Metropolitan Museum of Art, New York

Sonnet 64

When I have seen by Time's fell hand defaced
The rich proud cost of outworn buried age,
When sometime lofty towers I see down rased,
And brass eternal slave to mortal rage;
When I have seen the hungry ocean gain
Advantage on the kingdom of the shore,
And the firm soil win of the wat'ry main,
Increasing store with loss and loss with store;
When I have seen such interchange of state,
Or state itself confounded to decay,
Ruin hath taught me thus to ruminate
That Time will come and take my love away.
     This thought is as a death, which cannot choose
     But weep to have that which it fears to lose.

– William Shakespeare (1564-1616)

Giovanni Volpato and Louis Ducros
Arch of Septimius Severus
ca. 1780
hand-colored etching
 British Museum 

Giovanni Volpato and Louis Ducros
Arch of Titus
ca. 1780
hand-colored etching
Metropolitan Museum of Art, New York

Giovanni Volpato and Louis Ducros
Interior of the Colosseum
ca. 1780
hand-colored etching
British Museum 

Giovanni Volpato and Louis Ducros
Temple of Concord
ca. 1780
hand-colored etching
British Museum 

Giovanni Volpato and Louis Ducros
Temple of Jupiter Stator
ca. 1780
hand-colored etching
British Museum 

Giovanni Volpato and Louis Ducros
Temple of Peace
ca. 1780
hand-colored etching
British Museum 

from Caelica

When all this All doth passe from age to age,
And revolution in a circle turne,
Then heavenly Justice doth appeare like rage,
The Caves doe roare, the very Seas doe burne,
     Glory growes darke, the Sunne becomes a night,
     And makes this great world feele a greater might.
When Love doth change his seat from heart to heart,
And worth about the wheele of Fortune goes,
Grace is diseas'd, desert seemes overthwart,
Vowes are forlorne, and truth doth credit lose,
     Chance then gives Law, Desire must be wise,
     And looke more wayes than one, or lose her eyes.
My age of joy is past, of woe begunne,
Absence my presence is, strangenesse my grace,
With them that walke against me, is my Sunne:
The wheele is turn'd, I hold the lowest place,
     What can be good to me since my love is,
     To doe my harme, content to doe amisse?

– Fulke Greville (1554-1628)

Giovanni Volpato and Louis Ducros
Terrace of the Campidoglio
ca. 1780
hand-colored etching
British Museum 

Giovanni Volpato and Louis Ducros
Garden of Palazzo Colonna
ca. 1780
hand-colored etching
Metropolitan Museum of Art, New York

Giovanni Volpato and Louis Ducros
Garden of Villa Pamphili
ca. 1780
hand-colored etching
Metropolitan Museum of Art, New York

Giovanni Volpato and Louis Ducros
Villa Farnese
ca. 1780
hand-colored etching
Metropolitan Museum of Art, New York

Giovanni Volpato and Louis Ducros
Villa Montalto Negroni
ca. 1780
hand-colored etching
Metropolitan Museum of Art, New York

Giovanni Volpato and Louis Ducros
Villa Borghese
ca. 1780
hand-colored etching
Metropolitan Museum of Art, New York