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Italian school; 18th century."Ancient ruins".Pair of oils on canvas. Re-coloured.Slight repainting.
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Description
Italian school; 18th century.
"Ancient ruins".
Pair of oils on canvas. Re-coloured.
Slight repainting.
They have 19th century Spanish frames.
Measurements: 29 x 35 cm (x2); 37 x 43 cm (frames, x2).
These "Vedutas" or "Caprichso" offer us a panoramic landscape constructed from the reproduction of various classical style monuments, to which the romantic concept of ruin is added. The works in question show an idealised landscape in which a series of ruins of clear Roman influence stand out, such as the remains of a temple located to the left, in both cases
. With regard to the landscape genre, it is worth mentioning how, apart from the Venetian "veduta" model, in 17th-century Italy the type we see here prevailed, a landscape that starts from the classicist model created by the Carracci and evolves along monumental and architectural lines. The genre of the landscape view with ruins or classical monuments, real or invented, enjoyed great success from the 19th century onwards, especially in the wake of Romanticism. The taste for the artistic remains of the past, the widespread travel by writers and artists in search of monuments and works of art that could serve as a source of inspiration, and the discovery of important ancient remains such as those of the cities of Pompeii and Herculaneum undoubtedly contributed to the success of the genre. It is a pictorial genre, moreover, which has its roots in the 17th century, in the veduta, not always topographical but sometimes extremely imaginative, of artists such as Canaletto and others. During Romanticism, the ruin was the most evocative and real representation of the past. While in France theories such as those of Viollet le Duc advocated a historical reconstruction of ruined buildings, England defended the supremacy of the ruin. This English theory had its greatest representative in the figure of the scholar John Ruskin who, in his work The Stones of Venice, reflects his aesthetic ideas about ruins.
"Ancient ruins".
Pair of oils on canvas. Re-coloured.
Slight repainting.
They have 19th century Spanish frames.
Measurements: 29 x 35 cm (x2); 37 x 43 cm (frames, x2).
These "Vedutas" or "Caprichso" offer us a panoramic landscape constructed from the reproduction of various classical style monuments, to which the romantic concept of ruin is added. The works in question show an idealised landscape in which a series of ruins of clear Roman influence stand out, such as the remains of a temple located to the left, in both cases
. With regard to the landscape genre, it is worth mentioning how, apart from the Venetian "veduta" model, in 17th-century Italy the type we see here prevailed, a landscape that starts from the classicist model created by the Carracci and evolves along monumental and architectural lines. The genre of the landscape view with ruins or classical monuments, real or invented, enjoyed great success from the 19th century onwards, especially in the wake of Romanticism. The taste for the artistic remains of the past, the widespread travel by writers and artists in search of monuments and works of art that could serve as a source of inspiration, and the discovery of important ancient remains such as those of the cities of Pompeii and Herculaneum undoubtedly contributed to the success of the genre. It is a pictorial genre, moreover, which has its roots in the 17th century, in the veduta, not always topographical but sometimes extremely imaginative, of artists such as Canaletto and others. During Romanticism, the ruin was the most evocative and real representation of the past. While in France theories such as those of Viollet le Duc advocated a historical reconstruction of ruined buildings, England defended the supremacy of the ruin. This English theory had its greatest representative in the figure of the scholar John Ruskin who, in his work The Stones of Venice, reflects his aesthetic ideas about ruins.
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Italian school; 18th century.
"Ancient ruins".
Pair of oils on canvas. Re-coloured.
Slight repainting.
They have 19th century Spanish frames.
Measurements: 29 x 35 cm (x2); 37 x 43 cm (frames, x2).
These "Vedutas" or "Caprichso" offer us a panoramic landscape constructed from the reproduction of various classical style monuments, to which the romantic concept of ruin is added. The works in question show an idealised landscape in which a series of ruins of clear Roman influence stand out, such as the remains of a temple located to the left, in both cases
. With regard to the landscape genre, it is worth mentioning how, apart from the Venetian "veduta" model, in 17th-century Italy the type we see here prevailed, a landscape that starts from the classicist model created by the Carracci and evolves along monumental and architectural lines. The genre of the landscape view with ruins or classical monuments, real or invented, enjoyed great success from the 19th century onwards, especially in the wake of Romanticism. The taste for the artistic remains of the past, the widespread travel by writers and artists in search of monuments and works of art that could serve as a source of inspiration, and the discovery of important ancient remains such as those of the cities of Pompeii and Herculaneum undoubtedly contributed to the success of the genre. It is a pictorial genre, moreover, which has its roots in the 17th century, in the veduta, not always topographical but sometimes extremely imaginative, of artists such as Canaletto and others. During Romanticism, the ruin was the most evocative and real representation of the past. While in France theories such as those of Viollet le Duc advocated a historical reconstruction of ruined buildings, England defended the supremacy of the ruin. This English theory had its greatest representative in the figure of the scholar John Ruskin who, in his work The Stones of Venice, reflects his aesthetic ideas about ruins.
"Ancient ruins".
Pair of oils on canvas. Re-coloured.
Slight repainting.
They have 19th century Spanish frames.
Measurements: 29 x 35 cm (x2); 37 x 43 cm (frames, x2).
These "Vedutas" or "Caprichso" offer us a panoramic landscape constructed from the reproduction of various classical style monuments, to which the romantic concept of ruin is added. The works in question show an idealised landscape in which a series of ruins of clear Roman influence stand out, such as the remains of a temple located to the left, in both cases
. With regard to the landscape genre, it is worth mentioning how, apart from the Venetian "veduta" model, in 17th-century Italy the type we see here prevailed, a landscape that starts from the classicist model created by the Carracci and evolves along monumental and architectural lines. The genre of the landscape view with ruins or classical monuments, real or invented, enjoyed great success from the 19th century onwards, especially in the wake of Romanticism. The taste for the artistic remains of the past, the widespread travel by writers and artists in search of monuments and works of art that could serve as a source of inspiration, and the discovery of important ancient remains such as those of the cities of Pompeii and Herculaneum undoubtedly contributed to the success of the genre. It is a pictorial genre, moreover, which has its roots in the 17th century, in the veduta, not always topographical but sometimes extremely imaginative, of artists such as Canaletto and others. During Romanticism, the ruin was the most evocative and real representation of the past. While in France theories such as those of Viollet le Duc advocated a historical reconstruction of ruined buildings, England defended the supremacy of the ruin. This English theory had its greatest representative in the figure of the scholar John Ruskin who, in his work The Stones of Venice, reflects his aesthetic ideas about ruins.
13th October - Old Masters
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