129 - PAINTER ACTIVE IN ROME IN THE SECOND HALF OF THE 18TH CENTURY

PAINTER ACTIVE IN ROME IN THE SECOND HALF OF THE 18TH CENTURY ROME, VIEW OF THE FORUMS FROM THE FARNESE GARDENS WITH THE TORRE DELLE MILIZIE ON THE RIGHT, 42x85 cm. ROME, VIEW WITH THE COLOSSEUM ON THE RIGHT, 41.5 x 84.7 cm. ROME, VIEW OF PIAZZA DEL POPOLO, 44 x 87.5 cm. ROME, VIEW OF SAN CARLO ALLE QUATTRO FONTANE, 44 x 87 cm. ROME, SIDE VIEW OF THE LUNGARA AND STRADA GIULIA FROM THE TIBER SIDE, 41.5 x 85 cm. ROME, VIEW OF THE PORT OF RIPA GRANDE, 41x84.7 cm. Six dry-oil paintings on canvas. Gilded and carved wooden frames, 18th century. An extraordinary set of six views of Rome, characterized by remarkable scenic charm and refined decorative elegance, belonging to the great Roman landscape tradition inaugurated by Gaspar van Wittel and which flourished particularly during the 18th century. The series offers a detailed and evocative journey through some of the most representative sites of the Eternal City, from the monumental ruins of ancient Rome to Baroque architecture, and on to the river views and urban spaces that defined its historical and monumental identity. The compositions are distinguished by the breadth of their perspectives, the clear articulation of their planes, and the skillful modulation of light, which envelops the architecture in an atmosphere of exceptional clarity. The precise rendering of buildings, domes, and monumental backdrops is complemented by a painterly sensibility capable of lending depth and naturalness to the scenes depicted. The tiny figures that populate the squares, streets, and banks of the Tiber, along with the boats and scenes of daily life, introduce a lively narrative element, conveying the image of a vibrant, pulsating city, captured in the delicate balance between observation of reality and scenic idealization. Of particular interest is the stylistic coherence of the collection as a whole, in which the variety of subjects translates into a unified figurative language, characterized by proportion, compositional clarity, and formal elegance. The choice of a distinctly horizontal format accentuates the panoramic breadth of the views and enhances their decorative purpose, suggesting an organic conception of the cycle, likely intended to enrich a reception hall. In terms of pictorial quality, consistency of execution, and remarkable visual impact, this series stands as a significant testament to the popularity of Roman cityscapes among the cultured patrons of the 18th century. The successful combination of topographical interest, atmospheric sensitivity, and architectural grandeur lends the six compositions a particular charm, evoking that vision of Rome—suspended between the memory of antiquity and the splendor of the modern city—which enshrines its myth in the European imagination of the Grand Tour. CONDITION REPORT First canvas: defects and losses; no notable pictorial restorations are visible. The set of paintings is in excellent condition.