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French school of the 18th century. Circle of CLAUDE-JOSEPH VERNET (France, 1714 - 1789)."The
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Description
French school of the 18th century. Circle of CLAUDE-JOSEPH VERNET (France, 1714 - 1789).
"The Shipwreck.
Oil on canvas. Antique re-colouring.
Size: 92 x 153 cm; 109 x 168 cm (frame).
In this work the painter represents a shipwreck scene of great dramatism, following the models of Claude-Joseph Vernet. It is a coastal landscape with clear Romantic roots, with the scene of a sailing ship wrecked in a violent storm, of which, however, there is nothing left. On the right-hand side of the composition, dwarfed by the magnitude of the landscape, the survivors are swimming, clinging to the rocks and being rescued by the locals. Beyond, on the horizon, we see other sailboats with their sails completely blown out by the strong wind. The waves, the dense, dark clouds covering the sky, everything is placed at the service of the narrative, constructing an image of great expressive force.
Vernet completed his training in Italy, and in fact spent twenty years in the country. At that time, his visit to Marseilles and his trip to Civitavecchia awakened his passion for marine themes, leading him to join the workshop of the marine painter Bernardino Fergioni. From then on he developed a language particularly sensitive to atmospheric effects, thanks to his careful observation of nature, characterised by the perfect integration of the human figure in the landscape. In this latter respect he reveals the influence of Giovanni Paolo Panini, whom he probably met in Rome. His knowledge of the work of Claude Lorrain is also evident in his oeuvre, particularly in the harmonious sense of his compositions. As a mature painter in Rome, Vernet painted views of harbours, seascapes under the storm, in calm or moonlight, which were very popular with the British aristocracy.
"The Shipwreck.
Oil on canvas. Antique re-colouring.
Size: 92 x 153 cm; 109 x 168 cm (frame).
In this work the painter represents a shipwreck scene of great dramatism, following the models of Claude-Joseph Vernet. It is a coastal landscape with clear Romantic roots, with the scene of a sailing ship wrecked in a violent storm, of which, however, there is nothing left. On the right-hand side of the composition, dwarfed by the magnitude of the landscape, the survivors are swimming, clinging to the rocks and being rescued by the locals. Beyond, on the horizon, we see other sailboats with their sails completely blown out by the strong wind. The waves, the dense, dark clouds covering the sky, everything is placed at the service of the narrative, constructing an image of great expressive force.
Vernet completed his training in Italy, and in fact spent twenty years in the country. At that time, his visit to Marseilles and his trip to Civitavecchia awakened his passion for marine themes, leading him to join the workshop of the marine painter Bernardino Fergioni. From then on he developed a language particularly sensitive to atmospheric effects, thanks to his careful observation of nature, characterised by the perfect integration of the human figure in the landscape. In this latter respect he reveals the influence of Giovanni Paolo Panini, whom he probably met in Rome. His knowledge of the work of Claude Lorrain is also evident in his oeuvre, particularly in the harmonious sense of his compositions. As a mature painter in Rome, Vernet painted views of harbours, seascapes under the storm, in calm or moonlight, which were very popular with the British aristocracy.
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French school of the 18th century. Circle of CLAUDE-JOSEPH VERNET (France, 1714 - 1789).
"The Shipwreck.
Oil on canvas. Antique re-colouring.
Size: 92 x 153 cm; 109 x 168 cm (frame).
In this work the painter represents a shipwreck scene of great dramatism, following the models of Claude-Joseph Vernet. It is a coastal landscape with clear Romantic roots, with the scene of a sailing ship wrecked in a violent storm, of which, however, there is nothing left. On the right-hand side of the composition, dwarfed by the magnitude of the landscape, the survivors are swimming, clinging to the rocks and being rescued by the locals. Beyond, on the horizon, we see other sailboats with their sails completely blown out by the strong wind. The waves, the dense, dark clouds covering the sky, everything is placed at the service of the narrative, constructing an image of great expressive force.
Vernet completed his training in Italy, and in fact spent twenty years in the country. At that time, his visit to Marseilles and his trip to Civitavecchia awakened his passion for marine themes, leading him to join the workshop of the marine painter Bernardino Fergioni. From then on he developed a language particularly sensitive to atmospheric effects, thanks to his careful observation of nature, characterised by the perfect integration of the human figure in the landscape. In this latter respect he reveals the influence of Giovanni Paolo Panini, whom he probably met in Rome. His knowledge of the work of Claude Lorrain is also evident in his oeuvre, particularly in the harmonious sense of his compositions. As a mature painter in Rome, Vernet painted views of harbours, seascapes under the storm, in calm or moonlight, which were very popular with the British aristocracy.
"The Shipwreck.
Oil on canvas. Antique re-colouring.
Size: 92 x 153 cm; 109 x 168 cm (frame).
In this work the painter represents a shipwreck scene of great dramatism, following the models of Claude-Joseph Vernet. It is a coastal landscape with clear Romantic roots, with the scene of a sailing ship wrecked in a violent storm, of which, however, there is nothing left. On the right-hand side of the composition, dwarfed by the magnitude of the landscape, the survivors are swimming, clinging to the rocks and being rescued by the locals. Beyond, on the horizon, we see other sailboats with their sails completely blown out by the strong wind. The waves, the dense, dark clouds covering the sky, everything is placed at the service of the narrative, constructing an image of great expressive force.
Vernet completed his training in Italy, and in fact spent twenty years in the country. At that time, his visit to Marseilles and his trip to Civitavecchia awakened his passion for marine themes, leading him to join the workshop of the marine painter Bernardino Fergioni. From then on he developed a language particularly sensitive to atmospheric effects, thanks to his careful observation of nature, characterised by the perfect integration of the human figure in the landscape. In this latter respect he reveals the influence of Giovanni Paolo Panini, whom he probably met in Rome. His knowledge of the work of Claude Lorrain is also evident in his oeuvre, particularly in the harmonious sense of his compositions. As a mature painter in Rome, Vernet painted views of harbours, seascapes under the storm, in calm or moonlight, which were very popular with the British aristocracy.
13th October - Old Masters
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