Landscape Oil Painting View Of Piazza Navona Follower of Viviano Codazzi 18th

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Landscape Oil Painting View Of Piazza Navona Follower of Viviano Codazzi 18th
after 1700

$19,563.03List Price

About the Item

The painting made by a follower of Viviano Codazzi, depicts a view of Piazza Navona, partly flooded by the blockage of the fountain drains and taken from south to north, with its monuments already in their final state: the facade, completed in 1672, of the church of Sant'Agnese ni Agone next to the Palazzo Pamphilj and the gallery of Pietro da Cortona, the facade of the church of San Giacomo degli Spagnoli on the opposite side and, in the middle, the three fountains of the Moro, of the Rivers - completed in 1653 and 1651 respectively - and, towards the back, of the then Calderari fountain, which appears to have two superimposed basins and lacks the late nineteenth-century sculptural groups that transformed its name into the fountain of Neptune. The dating of the canvas is suggested first of all by the appearance of the characters that populate the scene, especially the numerous gentlemen in the pulpit, dressed in part with the tricorne hat and some of them provided with wigs: all elements of fashion whose diffusion took place starting from the last two decades of the seventeenth century, to continue without radical transformations for the whole first quarter of the following century. The style of the painting leads to the same chronology, clearly prior to the establishment of the conventions of eighteenth-century landscape painting introduced after 1680, not only in Rome but throughout Italy, by the Dutch Caspar van Wittel (Amersfoort 1652/53 - Rome 1736). The anonymous author is in fact unaware of the use of the optical camera and instead produces a view in which the scale of the fountains, human figures, carriages and horses is visibly greater than that of the two sets of buildings in perspective, with the resulting effect of a compressed and restricted space; he renders the surfaces of the buildings using a uniform dark ochre colour on which the architectural elements consisting of columns, pillars, architraves, doors and windows stand out clearly, abstaining completely from the pale green and pink plasters, the colour of air and light grey which - whether faithful to the truth or not - would have characterised the entire tradition. landscape painting of the incoming century; finally, he paints the dull and cloudy sky without indulging in the least in the serene blue that shortly thereafter would begin to conventionally characterize the light of Rome for the use and enjoyment of visitors on the Grand Tour. We are therefore in front of a late landscape painter still entirely immersed in the figurative culture of the mid-seventeenth century: an anonymous artist who can be traced back to the variegated and indistinct group of painter-workers who were more or less direct followers of Viviano Codazzi from Bergamo, who died in Rome in 1670 after more than twenty years of continuous activity in the papal capital. A clue that could lead to specifying the chronology of the painting, if not even the possible circumstance from which its realization could have arisen, can be seen in the female figure sitting inside the carriage that in the foreground on the left, seems to stop in front of the portal of the Pamphili Palace. Although the indefinable golden heraldic pinnacles on the roof of the carriage are of no help in any direction and although the elements of fashion described above remain little in conformity, it cannot be completely excluded that the aristocratic lady is recognizable in Olimpia Aldobrandini junior, wife of Prince Camillo Pamphilj who died at the end of 1681, portrayed posthumously in front of her palace. Otherwise, an investigation into the known history of the periodic flooding of the square on particular festive occasions could lead, in combination with the evident presence of an important lady, to the identification of a precise moment: a clue in this sense would be the long stay from 1699 to 1714 of the widowed queen of Poland Maria Casimira Luisa who did not frequent Piazza Navona The painting was studied and is accompanied by an expetise of prof. Antonio Vannugli

Creation Year:
after 1700
Dimensions:
Height: 19.69 in (50 cm)Width: 29.53 in (75 cm)
Medium:
Oil
Movement & Style:
Baroque
After:
Viviano Codazzi (1604 - 1670)
Period:
18th Century
Condition:
Gallery Location:
Roma, IT
Reference Number:
1stDibs: LU1350115054642

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