"Pieter Van Bloemen (1674-1720), Rome View With A Palatine Countryside Scene"Painting representing "View of Rome with a rustic scene in ancient ruins, with the Palatine of Via dei Cerchi", high-quality work executed by PIETER VAN BLOEMEN DETTO "LO STENDARDO" (Antwerp, 1657-1720)
oil on canvas, 76 x 104 cm.
Private collection, Rome
Expertise Prof. G.Sestieri (Rome)
All details on: www.antichitacastelbarco.it
Representative and typical testimony of Pieter van Bloemen (Antwerp 1657 - 1720), especially his stay in Rome, this evocative "scene with views of Rome" exposes us on a subject which is agreeable to him, which we find at another time in his catalog. , with similar but varied inventions of the present. It was precisely during his Roman years, from 1687 to 1692, that he reached the culmination of his career, gaining flattering successes, also thanks to the sets with Roman ruins in the background, confirmed by the presence various works in the main corners of the aristocracy. Roman To be suspended from this work, another Van Bloemen painting is available, of equal size for the same subject, as well as for the same stylistic and compositional characteristics. This beautiful canvas, which is, therefore, an interesting addition to the Flemish master's catalog of works, represents horses and herds resting on the bottom of old houses and ruins, where one can see a view of Rome with the Palatine via dei Cerchi. From the first floor, with animals studied and taken from different angles and a single male figure on the left, the representation develops diagonally with the buildings on the right, where appear other characters: a man with his horse, adventurers sitting at the table. outside an inn where the host drinks. Pieter is clearly related to the Flemish language while revealing himself Italian in the type of landscape and stylistic behavior. While his brother Jan Frans specializes in the pure classical-inspired landscape, Pieter combines it in a shocking manner, preferring campaign scenarios to ancient ruins that serve as a backdrop to simple daily activities: horses to drink, workers to work, rest pedestrians in hostels, markets. The interest in animals stems from the constant presence, as well as horses, goats, oxen and crouching goats, which in fact also offer protagonists occupying the band of the first floor, according to a pattern of composition rather usual at Van Bloemen. In the vast activity of the norm, which is still waiting for cataloging, one can still cite paintings which, for their inventions and in particular for their Roman environment, have remarkable affinities with the couple considered here. To this end, we can mention the "Via dei Cerchi" of private collection, the "Scena campestre" already Rospigliosi, the "Horses at the water point" of the private collection, the "Roman scene with various animals" already the collection Apolloni and the "Campo" Vaccino "of the Lille Museum and others, all published in the Andrea Busiri Vivi volume Writings of Art (U. Bozzi Publisher 1990, pp. 71-90)
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