Gardens of the Villa d'Este by Sunset, Tivoli

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Charles-Louis Clérisseau
Gardens of the Villa d'Este by Sunset, Tivoli

About the Item

CHARLES-LOUIS CLÉRISSEAU (1721-1820) THE GARDENS AT THE VILLA D'ESTE AT SUNSET, TIVOLI Signed l.r. Clérisseau Pen & black ink, pencil, and watercolour, heightened with bodycolour 45.1 x 59 cm 81 x 77 cm [Framed] Provenance: [Purchased by a previous owner in the U.S. for $34,000 according to an earlier label] Private Collection, Madison Avenue, N.Y. ‘I found out Clérisseau .. in whom tho’there is no guile, Yet there is the utmost knowledge of Architecture, of perspective, and of Designing and Colouring I ever Saw, or had any conception of; He rais’d my Ideas, He created emulation and fire in my Breast. I wish’d above all to learn his manner, to have him with me at Rome, to Study close with him and to purchase of his works ..’ (Robert Adam to his brother James, 19th February 1755) Clérisseau was born in Paris and studied there under the auspices of Germaine Boffrand, an architectural draughtsman. At just 25 years old, Clérisseau won the foremost architectural prize in France, the Prix de Rome, and so travelled to the French Academy in Rome (housed in the Villa Medici) to take up residence as a pensionnaire. He arrived in 1749, and began to study under Giovanni Paolo Pannini, the great painter of architectural capricci. Clérisseau befriended two other great architectural draughtsmen, Giovanni Battista Piranesi, and Claude-Joseph Vernet. Clérisseau remained in Rome for eighteen years, becoming an authority on antique Roman architecture, undertaking his own works, including his famous ruin room at the Trinita dei Monti convent, as well as teaching and acting as an artistic cicerone for other visitors. These visitors comprised a series of winners of the Prix de Rome, as well as French and British Grand Tourists, including some of the leading contemporary exponents of British neoclassicism, such as William Chambers and Robert and James Adam. For part of the 1750s, Clérisseau and Robert Adam shared lodgings in the Casa Guarnieri, near to the Spanish Steps. This was arguably one of the most important periods during Adam - who would become one of Britain’s most renowned architects. In his correspondence from this time, Adams mentions how Clérisseau suggested that he first learn to draw a plethora of ornamental motifs, often from Clérisseau’s own designs, before attempting full-scale architectural drawings. Clérisseau and Adam’s drawings from that time are largely rendered in pencil, pen and watercolour, and are either capricci or records of architecture, fragments and ornamental motifs from the buildings they encountered throughout Italy. The latter appear, on the whole, to have been drawn from life. On occasion, Clérisseau’s well-documented distortions of perspective, so as to show a piece of architecture to its best advantage, can be seen in Adam’s work too. The drawings utilise Clérisseau’s characteristic mode of depicting architecture in solid lines of ink but complement this with hazy watercolour backgrounds and imagined topographies. In 1757, Clérisseau even accompanied Robert Adam to Spalatro, Dalmatia (now Split, Croatia) for five weeks in order to survey the ruins of the Palace of the Roman Emperor Diocletian for publication. Following Robert’s departure from Italy, Clérisseau supervised the production of the engravings for his publication, Ruins of the Palace of the Emperor Diocletian at Spalatro… (1764). Moreover, many of the expedition drawings finally selected for engraving are thought to have been by Clérisseau himself rather than Adam or the other accompanying draughtsmen. However, he received no credit for this in Adam’s subsequent book, though this did nothing to stop his reputation’s ascendence. Clérisseau returned to Paris in 1767, a hugely respected artist in his own right. From the French capital, he cultivated a list of eminent clients, which included Catherine the great (who commissioned designs for a house and a triumphal bridge from the artist). The Russian Empress even gave Clérisseau the title Premier Architecte de Sa Majestée Impériale and made him an honorary member of the Imperial Academy of Fine Arts. In 1774, the 1st Marquis of Lansdowne commissioned Clérisseau to make designs for a library for Lansdowne House on Berkeley Square, London, but this was not executed. Soon afterwards, in 1785, Clérisseau was approached by Thomas Jefferson, then the United States Minister to France, to design the Virginia State Capitol, although in reality the Virginia State Capitol as built is thought to owe more to Jefferson himself than to Clérisseau. Clérisseau’s influence drew a circle of fellow neoclassical architects into his orbit, including François-Joseph Bélanger, who had not had the opportunity to travel to Rome. An important commission from this time, in 1775, was the interiors for the Hôtel Grimod de La Reynière in what is now the Place de la Concorde. Clérisseau’s work there, executed in partnership with Étienne de La Vallée, comprises the first decorative scheme to have been inspired by the archaeological discoveries at Pompeii and Herculaneum. Although his own architectural output was reasonably limited, it is generally agreed that through his teaching and influence, Clérisseau became one of the most important exponents of eighteenth-century neoclassicism. In his introduction to the Fitzwilliam Museum’s exhibition of its own, significant holding of the artist’s drawings in 1975, then-Professor of the History of Architecture David Watkin summarised the artist’s influence thus: ‘Clérisseau was a central figure in the complex romantic movement we call Neo-Classicism. An archaeologist, artist, architect and decorator, friend of Winckelmann and Piranesi, educator of Adams, Chambers and Erdmannsdorf, collaborator with Jefferson and Architect to Catherine the Great of Russia, he is typical of the international range of neo-classicism. The great veduta and capriccio canvases of Panini and the etched plates of Piranesi certainly inspired the architects and visionaries of Europe with their compelling evocations of the Roman world in ruins, but in the meantime Clérisseau reduced this to manageable form in hundreds of watercolours in a technique which architects could and did imitate.’ David Watkin, Triumph of the Classical (exhib cat.), Fitzwilliam Museum, Cambridge (1977)

Creator:
Charles-Louis Clérisseau
Dimensions:
Height: 17.76 in (45.1 cm)Width: 23.23 in (59 cm)
Medium:
Watercolor,Gouache,Pen,Pencil
Period:
Late 18th Century
Condition:
Please contact us for a thorough condition report.
Gallery Location:
London, GB
Reference Number:
1stDibs: LU2110211238952

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