Lake Avernus

This depiction of Lake Avernus—one of the landscapes most frequently revisited by the artist following his arrival in Italy during the second decade of the 19th century—already clearly reveals the stylistic language that would establish him as the progenitor of the School of Posillipo: rapid, flickering brushwork, a palette exceptionally rich in half-tones, and an approach to the veduta (prospect) that is more evocative than investigative. The foliage of the tree on the far right, for instance, appears to be constructed with small touches—almost minute, color-sparse dabs—animated not by a meticulous search for realism, but by the desire to suggest their mere presence. Upon observing the other elements of the representation, whether naturalistic or otherwise, one can discern the same color-lean and extremely summary brushwork.

From a technical standpoint, the use of oil on cardboard or "canvas-mounted" paper undoubtedly constitutes Pitloo's most innovative contribution, aimed at fostering a more direct approach to his subjects, moving away from traditional workshop practices. The texture of the cardboard's grain used here is clearly visible in the lighter areas, particularly within the sky.