View of Palazzo Pallavicini in Rome sorrounded by the hills

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Giovanni Battista Camuccini
View of Palazzo Pallavicini in Rome sorrounded by the hills

About the Item

This large format design, 40 x 62 cm, coming directly from the heirs, is an authentic and original work by Giovanni Battista Camuccini. The view is quite deep and ranges from the Pallavicini Rospigliosi palace to the Torre delle Milizie which can be clearly seen on the right edge of the composition together with the characteristic pine umbrella of the Colonna gardens, one of the historic pines that stood out in the blue sky of Rome. that of Monte Mario and the other of the Vicolo Sterrato. In support of what will be said below it should be emphasized how the artist has intentionally left the entire first floor in the state of "unfinished". Finally, the choice of the subject that makes this design not only a rare graphic testimony of the art of Giovanni Battista Camuccini but also a piece in the reconstruction of the historical topography of Rome. Giovanni Battista was born in Rome in 1819 by Vincenzo and Maddalena Devoti, who died a year later in giving birth to the second son, Carlo. He started painting in the footsteps of his father Vincenzo and his brother, Pietro (1767-1833), painter, restorer, art dealer and connoisseur mentioned in this role also by Vincenzo Pacetti in his newspapers as well as by Goethe in the Journey in Italy. From the initiation of John the Baptist to his father's painting, we also hear from Pietro Ercole Visconti: "His son, Giambattista, still taught painting, for which, and for that of the country, he showed from the beginning uncommon genius" . At the beginning of the 1940s Giovanni Battista stayed in Albano with his father Vincenzo who retired to recover from a heart attack. At this time, his first proofs of en plein air painting, as documented by landscape paintings and studies, are certainly given. In 1855, Giovanni Battista, with regular authorization from the papal government and in exchange for 80,000 scudi, ceded to Algernon Percy, the fourth duke of Northumberland, the collection of paintings left to him by his uncle Pietro and including, among others, works by Titian. Tintoretto, Claude, Canaletto and Guercino - to a large extent still present in the aristocratic residence of Alnwick Castle. Throughout the second half of the nineteenth century his name appears in the List of Members of the Society of Amateurs and Cultori of the Fine Arts of Rome but this does not mean that he necessarily took part in the annual exhibitions of the Company: in the absence, at least so far, of more extensive documentation. But the care of the vast family heritage helps to distract John the Baptist from painting. In 1862 he bought the castle-palace, before the Cesi, in Cantalupo in Sabina, which became a fief of the noble family. He died in Rome in 1905. Giovanni Battista Camuccini, painter, was known until some time ago almost exclusively to be the son of Vincenzo, one of the main protagonists of Roman neoclassicism. The same goes for the absence of its name in the traditional repertoires of 19th century painting, such as the latest edition of our Comanducci, the Bénézit dictionary, the most informed, yet dated, Thieme u. Becker or the more recent Saur-De Greuyter where he is cited with succinct and pointless news at the bottom of Vincenzo's card. The three oil paintings on paper present in the sixty-nine that appear in the catalog of the Gere Collection exhibited in London, New York, Manchester and York in 1999-2000 and subsequently in Memphis, Cincinnati and West Palm Beach between 2003 2004 before being transferred "on loan" to the London National Gallery. It should be noted at this point that the Gere Collection is not only an original collection of sketches but "the best private collection in its sector" as stated by Charles Saumarez Smith, director of the National Gallery consisting largely of oils on paper, "oil sketches "In fact, put together with mutual competence and acrobacy by the spouses John Arthur and Charlotte Gere, which is to say, a fundamental step in the events of the history of European landscape design as it has emerged over the last twenty years, a real "Laboratory for connoisseurship" in the appropriate definition by Peter Galassi. The collection includes some, as they say, some of the finest names in the specific sector, such as Carl Blechen, Simon Denis, Thomas Fearnley, Lèon Fleury, de Valenciennes, Michallon, Eugène-Ferdinand Buttura, Closson and, last but not least, our Giovanni (Nino) Costa. So, almost to reiterate what this event had left to guess, in December-January 2001-2002 the monographic exhibition of Giovanni Battista Camuccini, set up in New York and Paris by the Emmanuel Moatti gallery, in collaboration with Etienne Bréton, includes twenty-six studies, sketches. and landscape paintings, all oils on paper of medium-small size, set largely, at least in the opinion of the writer, in the countryside of Albano and places such as Ariccia where, more or less in those same years, another painter authentically Roman, Nino Costa just mentioned, had begun to practice on "the true eternal" with his friend George Mason.

Creator:
Giovanni Battista Camuccini (1819 - 1905)
Dimensions:
Height: 15.75 in (40 cm)Width: 24.22 in (61.5 cm)
Medium:
Pencil
Period:
Early 19th Century
Condition:
Gallery Location:
Rome, IT
Reference Number:
1stDibs: LU95913571471