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Johann Anton Eismann (attr.), Pair Of Coastal Views, Oil On Canvas
Johann Anton Eismann (attr.)
Salzburg, 1604 - Venice, 1698
Coastal view with ruins, fishermen and galleon
Coastal view with tower, figures and galleon
oil on canvas, cm. 37x46
On the back, the canvas and the frame bear the writing "N. 425" - "N. 426"
The two paintings presented here, still on first canvas and in a very good state of conservation, depict two bright coastal views with architectural ruins, figures and boats with a background on the horizon that opens to the open sea. The layout with the characteristic landscape backdrop that accentuates the distance of the horizon, the description of the close-ups with the lively figurines intent on their activities seem to be clear references to the hand of the Austrian-born but Italian-by-adoption painter Johann Anton Eismann.
The Nordic-style pictorial technique suggests a dating to the last phase of its production when its presence in the lagoon city is attested. Looking carefully at the scenography we are surprised by the innumerable quantity of details, the way in which Eismann outlines the depth, the slope of the horizon with diaphanous shades of blue that melts into the leaden brightness of the clouds.
It must therefore be highlighted how fundamental Eismann's creativity was for Luca Carlevarijs and Marco Ricci in his conception of views suspended between reality and fantasy. Thus, the role he played for the Capriccio genre, which had extraordinary illustrative success in Veneto.
Salzburg, 1604 - Venice, 1698
Coastal view with ruins, fishermen and galleon
Coastal view with tower, figures and galleon
oil on canvas, cm. 37x46
On the back, the canvas and the frame bear the writing "N. 425" - "N. 426"
The two paintings presented here, still on first canvas and in a very good state of conservation, depict two bright coastal views with architectural ruins, figures and boats with a background on the horizon that opens to the open sea. The layout with the characteristic landscape backdrop that accentuates the distance of the horizon, the description of the close-ups with the lively figurines intent on their activities seem to be clear references to the hand of the Austrian-born but Italian-by-adoption painter Johann Anton Eismann.
The Nordic-style pictorial technique suggests a dating to the last phase of its production when its presence in the lagoon city is attested. Looking carefully at the scenography we are surprised by the innumerable quantity of details, the way in which Eismann outlines the depth, the slope of the horizon with diaphanous shades of blue that melts into the leaden brightness of the clouds.
It must therefore be highlighted how fundamental Eismann's creativity was for Luca Carlevarijs and Marco Ricci in his conception of views suspended between reality and fantasy. Thus, the role he played for the Capriccio genre, which had extraordinary illustrative success in Veneto.
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