Caprice Architectural '700
This ‘Architectural Caprice’ (oil painting on canvas, 60 x 50 cm without frame and 70 x 60 cm with frame), consists of the remains of an ancient Roman temple on smooth columns with composite capitals and fluted pilasters, framed diagonally on the left, leaving space on the opposite side for an arch through which a landscape backdrop can be seen.
In the foreground, in the centre, is a group of four figures in two pairs: two women sitting on the ground in mirror image and the other pair standing and talking. This imaginative invention follows an architectural pattern that is found, with few variations, in many similar “Capriccios” by Alberto Carlieri (Rome 1672 - post 1719), to whom the figurative imprint of the four characters is also perfectly connected.
In fact, it is one of many similar compositions attributable to his mature period, when this pleasant specialist in the field, certainly the most prolific in Rome in the decades straddling the 17th and 18th centuries, turned to eminently decorative purposes, abandoning the perspective rigour that had characterised his early work in the footsteps of Viviano Codazzi and Giovanni Ghisolfi.
However, there is no doubt that Carlieri – whose catalogue now certainly exceeds two hundred items – played a valid and active role in this particular iconographic genre, thanks to the modern approach he pursued, with decisive anticipations not only of Panini – many of his works had been erroneously attributed to the master from Piacenza – but also of specialists of a later generation, such as Joli and Battaglioli.
In the foreground, in the centre, is a group of four figures in two pairs: two women sitting on the ground in mirror image and the other pair standing and talking. This imaginative invention follows an architectural pattern that is found, with few variations, in many similar “Capriccios” by Alberto Carlieri (Rome 1672 - post 1719), to whom the figurative imprint of the four characters is also perfectly connected.
In fact, it is one of many similar compositions attributable to his mature period, when this pleasant specialist in the field, certainly the most prolific in Rome in the decades straddling the 17th and 18th centuries, turned to eminently decorative purposes, abandoning the perspective rigour that had characterised his early work in the footsteps of Viviano Codazzi and Giovanni Ghisolfi.
However, there is no doubt that Carlieri – whose catalogue now certainly exceeds two hundred items – played a valid and active role in this particular iconographic genre, thanks to the modern approach he pursued, with decisive anticipations not only of Panini – many of his works had been erroneously attributed to the master from Piacenza – but also of specialists of a later generation, such as Joli and Battaglioli.
The paintings and works of art published here are my exclusive property and therefore are always available to be viewed, by appointment, in my exhibition sites located in Sanremo and Brescia.
This item , like all our objects, is sold accompanied by a photographic certificate FIMA of authenticity and lawful origin; this document identifies the object by adding more value to the article.
We
take care and personally organize the packaging and shipping of our
items with insurance all over the world.
Mr. Riccardo Moneghini
Art Historian
4 200 €
Period: 18th century
Style: Louis 14th, Regency
Condition: Excellent condition
Material: Oil painting
Length: 60
Width: 50
Reference (ID): 1686326
Availability: In stock
Print
