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Pietro Fabris (documentato a Napoli dal 1756 -1792)
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Milan, Italy
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Pietro Fabris (documentato a Napoli dal 1756 -1792)Una scena di vita popolareOlio su tela119 x 96 cmL'opera è corredata da uno studio del professore Stefano Causa, disponibile, su richiesta, via email. Riprendendo quanto scrive il professor Stefano Causa nella perizia: Allo stato attuale le informazioni su Pietro Fabris, maestro che meriterebbe finalmente l’appello di una mostra monografica, appaiono numerose quanto irrelate. Sappiamo che fu attivo a Napoli dal 1754 al 1804 qualificandosi in diverse riprese come inglese (per esempio in un dipinto del 1761); e proprio a Londra espone nel 1768 i suoi disegni e vedute di Napoli. L’Inghilterra come molti di noi ricorderanno ha gran peso nella storia napoletana di fine secolo e, nel merito, nella vicenda di Fabris. A cominciare dal fatto che la svolta nella sua carriera va indicata nell’autentico sodalizio intellettuale e umano che intrattenne con un ingegno poco meno che cruciale come William Hamilton (Henley-on-Thames 1730- Londra 1803). A Fabris spettano, tra le altre cose, le sessanta acqueforti colorate a corredo dei Campi Phlegraei. Observations on the Volcanos of the Two Sicilies che, uscito nel 1776 come collezione delle lettere inviate alla Royal Society, rimane un apice del tardo illuminismo europeo oltre che, senza discussioni, uno dei libri più belli del secondo ‘700. Fabris, che aveva accompagnato Hamilton nelle escursioni nel lembo costiero a nord ovest di Napoli, vi viene indicato nella prefazione come ‘a most ingenious and able artist’. Sporadico pittore sacro (autore di due pale nella chiesa barese di Santa Chiara) Fabris fu una delle grandi sorprese della mostra curata da Raffaello Causa, Civiltà del ‘700 a Napoli, che si aprì nel 1979, ormai quarantacinque anni fa, nel Museo di Capodimonte a Napoli. Completava, in catalogo, a seguito dei pittori sacri, la compagine dei vedutisti non stranieri: il romano o napoletano Carlo Bonavia: il siciliano Antonio Dominici, il modenese Antonio Joli fino ad arrivare a Saverio della Gatta, indiscusso maestro della gouache di fine secolo e che sembra dare la mano allo stesso Fabris. La loro presenza in mostra fu indicativa soprattutto del rapporto con i grande vedutisti stranieri - da Pierre Jacques Volaire a Vernet allo stesso Hackert, per non parlare di Hubert Robert. Tutti avevano scelto Napoli come patria di elezione.Pietro Fabris (documented in Naples from 1756 -1792)A Scene of Popular LifeOil on canvas119 x 96 cmThe artwork is accompanied by a study by Professor Stefano Causa, available on request by email.Taking up what Professor Stefano Causa writes in the expertise: Currently, the information on Pietro Fabris, a master who finally deserves the appeal of a monographic exhibition, appears numerous and unrelated. We know that he was active in Naples from 1754 to 1804, qualifying himself as English on several occasions (for example, in a painting from 1761); in London, he exhibited his drawings and views of Naples in 1768. As many of us will remember, England has a great weight in the Neapolitan history of the end of the century and, in essence, in the story of Fabris. Starting from the fact that the turning point in his career must be indicated in the authentic intellectual and human association that he entertained with a little less than crucial genius like William Hamilton (Henley-on-Thames 1730-London 1803). Fabris is responsible, among other things, for the sixty coloured etchings accompanying the Campi Phlegraei. Observations on the Volcanos of the Two Sicilies which, was published in 1776 as a collection of letters sent to the Royal Society, remains a pinnacle of the late European Enlightenment as well as, without discussion, one of the most beautiful books of the second half of the 18th century. Fabris, who had accompanied Hamilton on excursions to the coastal strip northwest of Naples, is indicated in the preface as 'a most ingenious and able artist'. Sporadic sacred painter (author of two altarpieces in the church of Santa Chiara in Bari) Fabris was one of the great surprises of the exhibition curated by Raffaello Causa, Civiltà del '700 a Napoli, which opened in 1979, now forty-five years ago, in the Museum of Capodimonte in Naples. Following the sacred painters, the group of non-foreign landscape painters completed the catalogue: the Roman or Neapolitan Carlo Bonavia: the Sicilian Antonio Dominici, the Modenese Antonio Joli up to Saverio della Gatta, the undisputed master of gouache at the end of the century and who seems to shake hands with Fabris himself. Their presence in the exhibition was indicative above all of the relationship with the great foreign landscape artists - from Pierre Jacques Volaire to Vernet to Hackert himself, not to mention Hubert Robert. Everyone had chosen Naples as their homeland of choice.
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Pietro Fabris (documentato a Napoli dal 1756 -1792)Una scena di vita popolareOlio su tela119 x 96 cmL'opera è corredata da uno studio del professore Stefano Causa, disponibile, su richiesta, via email. Riprendendo quanto scrive il professor Stefano Causa nella perizia: Allo stato attuale le informazioni su Pietro Fabris, maestro che meriterebbe finalmente l’appello di una mostra monografica, appaiono numerose quanto irrelate. Sappiamo che fu attivo a Napoli dal 1754 al 1804 qualificandosi in diverse riprese come inglese (per esempio in un dipinto del 1761); e proprio a Londra espone nel 1768 i suoi disegni e vedute di Napoli. L’Inghilterra come molti di noi ricorderanno ha gran peso nella storia napoletana di fine secolo e, nel merito, nella vicenda di Fabris. A cominciare dal fatto che la svolta nella sua carriera va indicata nell’autentico sodalizio intellettuale e umano che intrattenne con un ingegno poco meno che cruciale come William Hamilton (Henley-on-Thames 1730- Londra 1803). A Fabris spettano, tra le altre cose, le sessanta acqueforti colorate a corredo dei Campi Phlegraei. Observations on the Volcanos of the Two Sicilies che, uscito nel 1776 come collezione delle lettere inviate alla Royal Society, rimane un apice del tardo illuminismo europeo oltre che, senza discussioni, uno dei libri più belli del secondo ‘700. Fabris, che aveva accompagnato Hamilton nelle escursioni nel lembo costiero a nord ovest di Napoli, vi viene indicato nella prefazione come ‘a most ingenious and able artist’. Sporadico pittore sacro (autore di due pale nella chiesa barese di Santa Chiara) Fabris fu una delle grandi sorprese della mostra curata da Raffaello Causa, Civiltà del ‘700 a Napoli, che si aprì nel 1979, ormai quarantacinque anni fa, nel Museo di Capodimonte a Napoli. Completava, in catalogo, a seguito dei pittori sacri, la compagine dei vedutisti non stranieri: il romano o napoletano Carlo Bonavia: il siciliano Antonio Dominici, il modenese Antonio Joli fino ad arrivare a Saverio della Gatta, indiscusso maestro della gouache di fine secolo e che sembra dare la mano allo stesso Fabris. La loro presenza in mostra fu indicativa soprattutto del rapporto con i grande vedutisti stranieri - da Pierre Jacques Volaire a Vernet allo stesso Hackert, per non parlare di Hubert Robert. Tutti avevano scelto Napoli come patria di elezione.Pietro Fabris (documented in Naples from 1756 -1792)A Scene of Popular LifeOil on canvas119 x 96 cmThe artwork is accompanied by a study by Professor Stefano Causa, available on request by email.Taking up what Professor Stefano Causa writes in the expertise: Currently, the information on Pietro Fabris, a master who finally deserves the appeal of a monographic exhibition, appears numerous and unrelated. We know that he was active in Naples from 1754 to 1804, qualifying himself as English on several occasions (for example, in a painting from 1761); in London, he exhibited his drawings and views of Naples in 1768. As many of us will remember, England has a great weight in the Neapolitan history of the end of the century and, in essence, in the story of Fabris. Starting from the fact that the turning point in his career must be indicated in the authentic intellectual and human association that he entertained with a little less than crucial genius like William Hamilton (Henley-on-Thames 1730-London 1803). Fabris is responsible, among other things, for the sixty coloured etchings accompanying the Campi Phlegraei. Observations on the Volcanos of the Two Sicilies which, was published in 1776 as a collection of letters sent to the Royal Society, remains a pinnacle of the late European Enlightenment as well as, without discussion, one of the most beautiful books of the second half of the 18th century. Fabris, who had accompanied Hamilton on excursions to the coastal strip northwest of Naples, is indicated in the preface as 'a most ingenious and able artist'. Sporadic sacred painter (author of two altarpieces in the church of Santa Chiara in Bari) Fabris was one of the great surprises of the exhibition curated by Raffaello Causa, Civiltà del '700 a Napoli, which opened in 1979, now forty-five years ago, in the Museum of Capodimonte in Naples. Following the sacred painters, the group of non-foreign landscape painters completed the catalogue: the Roman or Neapolitan Carlo Bonavia: the Sicilian Antonio Dominici, the Modenese Antonio Joli up to Saverio della Gatta, the undisputed master of gouache at the end of the century and who seems to shake hands with Fabris himself. Their presence in the exhibition was indicative above all of the relationship with the great foreign landscape artists - from Pierre Jacques Volaire to Vernet to Hackert himself, not to mention Hubert Robert. Everyone had chosen Naples as their homeland of choice.
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