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Caprice architectural avec les grands monuments de Rome sur la place Saint-Pierre
Details
DOMENICO ROBERTI (ROME VERS 1642-1707)
Caprice architectural avec les grands monuments de Rome sur la place Saint-Pierre
huile sur toile
147 x 200 cm (57 ¾ x 78 ¾ in.)
Caprice architectural avec les grands monuments de Rome sur la place Saint-Pierre
huile sur toile
147 x 200 cm (57 ¾ x 78 ¾ in.)
Provenance
Collection particulière, Rome (selon le catalogue de vente de 2024, voir infra).
Vente anonyme, Wannenes, Milan, 27 novembre 2024, lot 194 (comme un peintre actif à Rome au XVIIe-XVIIIe siècle).
Vente anonyme, Wannenes, Milan, 27 novembre 2024, lot 194 (comme un peintre actif à Rome au XVIIe-XVIIIe siècle).
Further Details
DOMENICO ROBERTI (C.1642-1707), AN ARCHITECTURAL CAPRICCIO FEATURING ROME’S GREAT MONUMENTS IN ST. PETER’S SQUARE, OIL ON CANVAS
This previously unpublished painting by Domenico Roberti (c.1647-1707) is arguably, by virtue of its complexity and originality, the pinnacle of the Roman painter’s oeuvre. The canvas constitutes an early example of the veduta ideata, those assemblages of monuments intended to be identified, arranged in novel spatial compositions, which would later reach their apogee in the work of Giovanni Paolo Panini (1691-1765). Panini, however, typically situated his vedute ideate in the Roman Forum; the choice of St. Peter's Square as the setting for such a scene is exceptionally rare, if not unprecedented.
St. Peter’s Square is shown as it was prior to the construction of the colonnade by Gian Lorenzo Bernini (1598-1680), with its obelisk and fountain. Inserted into the composition is the famous statue of Marcus Aurelius (121-180), actually located on the Capitoline Hill, whose tower appears at upper right. To the right appear Trajan's Column, the Temple of Antoninus and Faustina, and the Arch of Constantine, all of which are in reality located in the Roman Forum. The latter is particularly interesting, as it is depicted in its state prior to the restorations undertaken in the 18th century. On the left are the group of the Dioscuri, actually situated on the Quirinal Hill, a glimpse of the Colosseum, the façade of the Pantheon, and, in the background, Castel Sant'Angelo.
In the foreground stands the famous Farnese Hercules. At its feet appear the papal coats of arms of one of the two popes from the Orsini family: Pope Celestine III (pope from 1191-1198) or Pope Nicholas III (pope from 1277-1280). Given that there was no Orsini pope during Roberti’s lifetime, it is plausible that a member of this illustrious family commissioned the painting.
The figures strolling among these ancient ruins and the architecture of the Holy See are characterized by formal elegance and softly rendered facial features, typical of the work of Giovanni Ghisolfi (1623-1683), an artist whose paintings deeply inspired Roberti, who freely borrowed figures from his elder. This same influence can also be seen in the inclusion of the Chiton Torso (now in the Vatican Museums) at lower left. A rare motif in ruin scenes, it appears in numerous works by Ghisolfi.
We would like to thank Professor David R. Marshall for proposing the attribution of this painting to Domenico Roberti on the basis of photographs and for his assistance in the preparation of this catalogue entry.
This previously unpublished painting by Domenico Roberti (c.1647-1707) is arguably, by virtue of its complexity and originality, the pinnacle of the Roman painter’s oeuvre. The canvas constitutes an early example of the veduta ideata, those assemblages of monuments intended to be identified, arranged in novel spatial compositions, which would later reach their apogee in the work of Giovanni Paolo Panini (1691-1765). Panini, however, typically situated his vedute ideate in the Roman Forum; the choice of St. Peter's Square as the setting for such a scene is exceptionally rare, if not unprecedented.
St. Peter’s Square is shown as it was prior to the construction of the colonnade by Gian Lorenzo Bernini (1598-1680), with its obelisk and fountain. Inserted into the composition is the famous statue of Marcus Aurelius (121-180), actually located on the Capitoline Hill, whose tower appears at upper right. To the right appear Trajan's Column, the Temple of Antoninus and Faustina, and the Arch of Constantine, all of which are in reality located in the Roman Forum. The latter is particularly interesting, as it is depicted in its state prior to the restorations undertaken in the 18th century. On the left are the group of the Dioscuri, actually situated on the Quirinal Hill, a glimpse of the Colosseum, the façade of the Pantheon, and, in the background, Castel Sant'Angelo.
In the foreground stands the famous Farnese Hercules. At its feet appear the papal coats of arms of one of the two popes from the Orsini family: Pope Celestine III (pope from 1191-1198) or Pope Nicholas III (pope from 1277-1280). Given that there was no Orsini pope during Roberti’s lifetime, it is plausible that a member of this illustrious family commissioned the painting.
The figures strolling among these ancient ruins and the architecture of the Holy See are characterized by formal elegance and softly rendered facial features, typical of the work of Giovanni Ghisolfi (1623-1683), an artist whose paintings deeply inspired Roberti, who freely borrowed figures from his elder. This same influence can also be seen in the inclusion of the Chiton Torso (now in the Vatican Museums) at lower left. A rare motif in ruin scenes, it appears in numerous works by Ghisolfi.
We would like to thank Professor David R. Marshall for proposing the attribution of this painting to Domenico Roberti on the basis of photographs and for his assistance in the preparation of this catalogue entry.
Brought to you by
Olivia Ghosh
Specialist