拍品專文
The view is taken from the Atlantic rainforest in the Tijuca hills high above Rio de Janeiro, the picturesque district where Taunay settled with his family shortly after arriving in Brazil.
He had come to Rio de Janeiro on the Calpe in March 1816, one of a group of French artists under the direction of Joachim Lebreton attached to the Duc de Luxembourg's embassy, invited by the exiled Portuguese King Dom João VI to found an Academy of Fine Arts in Rio de Janeiro.
Taunay stayed in Brazil for five years, returning to France in 1821 and exhibiting six Brazilian landscapes at the Salon in 1822. His Brazilian work remains rare, Afonso de Escragnolle Taunay recording just thirty-five Brazilian landscapes (A Missão Artístíca de 1816, Rio de Janeiro, 1956, p. 197), and is normally on a smaller scale than the present canvas.
In a letter date Neuily, 20 November 1990, Mme Claudine Lebrun Jouve notes the similarities between this painting and Taunay's Vista tirada da Morro da Gloria in the Museu do Açude, Rio de Janeiro, and his Vista do Rio de Janeiro tirada do alto da Boa Vista.
He had come to Rio de Janeiro on the Calpe in March 1816, one of a group of French artists under the direction of Joachim Lebreton attached to the Duc de Luxembourg's embassy, invited by the exiled Portuguese King Dom João VI to found an Academy of Fine Arts in Rio de Janeiro.
Taunay stayed in Brazil for five years, returning to France in 1821 and exhibiting six Brazilian landscapes at the Salon in 1822. His Brazilian work remains rare, Afonso de Escragnolle Taunay recording just thirty-five Brazilian landscapes (A Missão Artístíca de 1816, Rio de Janeiro, 1956, p. 197), and is normally on a smaller scale than the present canvas.
In a letter date Neuily, 20 November 1990, Mme Claudine Lebrun Jouve notes the similarities between this painting and Taunay's Vista tirada da Morro da Gloria in the Museu do Açude, Rio de Janeiro, and his Vista do Rio de Janeiro tirada do alto da Boa Vista.