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| Andrea Locatelli Shepherds in a Landscape before 1741 oil on canvas Fondazione Sorgente Group, Rome |
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| Andrea Locatelli Fishermen in a Landscape before 1741 oil on canvas Fondazione Sorgente Group, Rome |
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| Andrea Locatelli Landscape with Bandits and a Dog ca. 1725-30 oil on canvas Ashmolean Museum, Oxford |
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| 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)
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| Andrea Locatelli Landscape with Waterfall and Distant Lake ca. 1730-40 oil on canvas National Galleries of Scotland |
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| Andrea Locatelli Rocky Landscape with Natural Arch and Distant Tower ca. 1730-40 oil on canvas National Galleries of Scotland |
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| Andrea Locatelli Bacchanal with the Drunken Silenus on an Ass before 1741 oil on canvas National Trust, Osterley Park, London |
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| Andrea Locatelli Nymphs and Satyrs celebrating Flora and Priapus with Flowers before 1741 oil on canvas National Trust, Osterley Park, London |
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| Andrea Locatelli Venus and Vulcan before 1741 oil on canvas private collection |
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| Andrea Locatelli Venus and Adonis before 1741 oil on canvas private collection |
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| Andrea Locatelli River Landscape with Bathers and Shepherds before 1741 oil on canvas private collection |
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| Andrea Locatelli Faun and Nymph reclining in a Landscape before 1741 oil on canvas private collection |
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| Andrea Locatelli Landscape with Ruin and Two Figures on a Road before 1741 oil on canvas National Trust, Stourhead, Wiltshire |
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| Andrea Locatelli Classical Landscape before 1741 oil on canvas Auckland Art Gallery |